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CQ£XRIGHT DEPOSm 



m/Denition-i Royalty ^lay:i H 

^or the ^ove 
of Johnny 



by 
"Harry Hamilton 



M^ 



T. S. T)enhon & Company 

Tublbhen- Chicago 

'Price S$ CenU 



slgsf 




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T. S. Denison & Company^ Publishers 

154 West Randolph Street ' CHICAGO 






FOR THE LOVE OF JOHNNY 




MR. RALPH JUUL AS FATHER RYAN 



For the Love of Johnny 



A Play of Human Hearts in Three Acts 



BY 

Harry Hamilton 



CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



6 s^ 



^ 



(Please Read Carefully^ 



HE PROFESSIONAL STAGE-RIGHTS 
in this play are stricftly reserved and all 
applications for its use should be ad- 
dressed to the publishers. Amateurs 
may obtain permission to produce it on 
payment o£ a fee of ten dollars ($10.00) for each 
performance, in advance. Correspondence on 
this subject should be addressed to T. S. Denison 
& Company, 154 W. Randolph St., Chicago, 111. 
<::> -<:> ^^> 

cv4ttention is called to the penalties provided 
by the Copyright Law of the United States of 
America in force July 1, 1909, for any infringe- 
ment of the owner's rights, as follows : 

Sec. 28. That any person who willfully and for profit 
shall infringe any copyrig,ht secured by this Act, or who 
shall knowingly and willfully aid or abet such infringement, 
shall be deemed guilty of a misdemeanor, and upon convic- 
tion thereof shall be punished by imprisonment for not 
exceeding one year or by a fine of not less than one hundred 
dollars nor more than one thousand dollars, or both, in the 
discretion of the court. 

<:> '^> <:> 

Copyright, 1916, by Hamilton Coleman 
under title "When a Girl Loves" 

COPYRIGHT, 1919, BY T. S. DENISON & COMPANY 

CALL RIGHTS RESERVED 

©Ci.D 5 2788 

OCT -4 I9IS 



GAYETY THEATRE 

"LOUISVILLE'S MOST BEAUTIFUL PLAY HOUSE" 

Commencing Sunday Matinee, Jan. 14,1917 

HAMILTON COLEMAN 

Presents 
An Intensely Human Play, Entitled 

"FOR THE LOVE OF JOHNNY" 

BY HARRY HAMILTON 

With the following splendid cast of players 
(Given in the order of their appearance) 

Ethel Banks Miss Una Carpenter 

Harriet Banks Miss Carrie Weller 

Dorothy Banks Miss Florence Forbes 

Dick Wayburn Mr. Richard L. Walling 

Jerrymeyer Banks Mr. Wallie Ayers 

Phil Osborne Mr. Frank Jones 

John Turkey-Legs Mr. Howard Kemp 

Father Ryan Mr. Ralph Juul 

Johnny Banks Mr. Dave Campion 

Mr. Woods The Stranger 



SYNOPSIS OF SCENES 

Act One — In front of the Ranch-house. Afternoon. 

Act Two — The Living Room of the Ranch-house the follow- 
ing afternoon and evening. 

Act Three — The same as the first act — six months later. 

Time — Present. 

Place — New Mexico. 

Note — This play is produced and booked under the direc- 
tion of The Rocole Amusement Company. 



First produced January 14, 1917 (under the original title of "When 
a Girl Loves"), at the Gayety Theatre, Louisville, Kentucky, with the 
above cast and afterwards on tour of many cities of the United 
States. 



EXCERPTS FROM PRESS NOTICES 



For the Love of Johnny 

"As a melodrama it doesn't overlook anything. There is the 
lost brother, the poor orphan children who end up rich, the rich 
villain who tries to force the girl to marry him, the good Indian 
and all the rest. They are put together in a pleasing little three 
act play, acted by a good company which gives the audience its 
money's worth and more." — Nashville Tennessean and Nashville 
American. Jan. 23, 1917. 

"Originality of lines, extraordinary situations, character inter- 
pretation of an unusual sort and exceedingly clever acting by a 
very clever cast of players, all these things contribute to the 
interest of 'For the Love of Johnny,' the play that will un- 
doubtedly prove one of the notable successes of the season down 
at the Bijou. The author called it a 'play of human hearts' 
and a gripping, intense play of human hearts is what it is." — 
The Birmingham News. Feb. 6, 1917. 

" 'For the Love of Johnny,' is a drama of human interest 
with a liberal allotment of thrilling situations. A vein of comedy 
running through the piece is helpful. The plot is deep laid — an 
orphan girl has been defrauded of her inheritance and receives 
nothing but unkind treatment from those who derive the benefit 
of what should be hers. Incidentally the girl regains what is 
lawfully hers and the villain goes to an untimely end." — The 
Louisville Herald. Jan. 14, 1917. 

"The clean wholesome comedy with which the entire piece is 
filled kept the entire audience laughing from the time the 
curtain rose until its final drop." — The Biryningham Ledger. 
Feb. 6, 1917. 

"Just a picture from life, describes 'For the Love of Johnny' 
which opened a week's engagement yesterday at the Crescent 
Theatre. Its greatest recommendation is that the story is refresh- 
ing, the action quick and the scenery full of life and color. It 
brushes the memory with balmy breezes of long ago — a quiet 
age on the farm where peace and plenty reign." — The New 
Orleans American. Feb. 12, 1917. 

"There remains little doubt that when a girl loves things begin 
to happen. If anyone is skeptical, let him visit the Crescent 
Theatre this week and see what befalls in 'For the Love of 
Johnny,' a play in three acts. * * * Despite the inclemency 
of the weather, large crowds attended both of Sunday's perform- 
ances and the applause was frequent." — The Times-Picayune, 
New Orleans, La. Feb. 12, 1917. 

"For a popular priced attraction, 'For the Love of Johnny' 
excels many other plays which have commanded higher prices 
on the strength of past reputations, with the inevitable hero, 
heroine, and villain — for the villain must be foiled to supply the 
essentially necessary happy ending — Idie performance is replete 
with interest-compelling qualities that combine to make the play 
altogether pleasing." — The News, Lynchburg, Va., Feb. 24, 1917. 



FOR THE LOVE OF JOHNNY 

A PLAY IN THREE ACTS 
FOR SIX MEN AND THREE AVOMEN 



CHARACTERS. 

(In the order of their appearance.) 

Ethel Banks The Niece 

Harriet Banks The Aunt 

Dorothy Banks The Daughter 

Dick Wayburn The Coward 

Jerrymeyer Banks The Uncle 

Phil Osborne The Soldier 

John Turkey-Legs The Indian 

Father Ryan The Priest 

Johnny Banks The Nephew 

Mr. Woods The Stranger 



Scene: '''Travelers' Rest Ranch" in Northern New 
Mexico. 



Act I. Late afternoon in front of tlie ranch house. 
Act II. The Hving room of the rancli house the fol- 

lowmg afternoon and evening. 
Act III. Same as the first act, six months later. 



Time of Playing — About Two and One-quarter 
Hours. 



FOR THE LOVE OF JOHNNY 



THE STORY OF THE PLAY^ 

"For the Love of Johnny" is a comedy-drama of 
strong heart-interest which has moved many audiences 
to both tears and laughter. While its chief interest as 
a play is contained in its dramatic situations and the 
unusual story unfolded, it nevertheless abounds in 
clean and clever comedy. The character of the Aunt, 
and also Phil, are strong comedy parts and no audi- 
ence can resist their appeal. 

The action of the play opens in New Mexico in 
the ranch home of Jerrymeyer and Harriet Banks. 
Living with them is their daughter Dorothy and 
their niece Ethel, who is made the household drudge. 
Ethel finds her only happiness in her love for Johnny 
Banks, her supposed brother, who is a mill hand and 
lives in the same house. Dick Wayburn, an unscrup- 
ulous and wealthy mine owner, is in love with Etliel, 
but she does not return his affection, and with her 
Aunt he plans to win her by sending Johnny away 
on a supposed business mission and then getting him 
out of the way for good by having him shanghaied. 
Wayburn's scheme promises well, but he is recog- 
nized by the Indian Turkey-Legs as a bad man and 
the murderer of his squaw. Wayburn, fearful that 
the Indian will spoil his plans or murder him in re- 
venge, shoots the Indian with a revolver fitted with 
a Maxim silencer and thinks him dead. The Indian 
is only wounded, however, and still plans vengeance. 

Ethel finds a true friend in Father Ryan, a Cath- 
olic Priest who stops at the ranch on his way to the 
Mission and incidentally makes it known that he is 
searching for a long lost brother who was reared in 
an orphanage and later at an early age adopted 
into a wealthy family by the same name of Banks. 



FOR THE LOVE OF JOHNNY 



The following evening Dorothy and Phil, her sol- 
dier lover, go to a dance, and, like Cinderella, Ethel 
is left all alone in the ranch house. Wajburn sur- 
prises her there and when she .will not listen to his 
suit becomes violent and her safety is threatened when 
Father Ryan breaks in the locked door. Ethel has 
fainted and during the struggle between Father Ryan 
and Wayburn the lamp is overturned and the fight 
goes on in the darkness. Turkey-Legs, the Indian, 
unseen by anyone enters, and as Father Ryan is being 
overpowered stabs Wayburn and kills him. Jerry- 
meyer and the Aunt return at this moment and Father 
Ryan is as surprised as they are to find Wayburn 
dead. Father Ryan is accused of the murder and 
held for trial. 

Ethel has not heard from Johnny since he was 
sent away by Wayburn and after six months have 
passed gives him up for dead. The Aunt, with Johnny 
out of the way, as she thinks, and with Father 
Ryan being tried for murder, now schemes to send 
Ethel away for good and obtain possession of the 
ranch, which rightfully belongs to Ethel. Just as 
Ethel, heartbroken and alone in the world, is leaving, 
Johnny comes back disguised as a Mr. Woods. He 
has learned from Father R^^an that he is the Priest's 
younger brother who was adopted into the Banks 
family and brought up as Ethel's brother. Before 
disclosing his identity, he reveals to Ethel that the 
ranch belonged to her father and mother before they 
were killed in a railway accident and now is right- 
fully hers. 

Father Ryan is acquitted of the killing of Dick 
Wayburn — Turkey-Legs confesses the crime and es- 
capes and Ethel's property is restored to her. At 



10 FOR THE LOVE OF JOHNNY 

the last moment of the play Ethel learns that Johnny 
is not her brother at all, and these two Children of 
Fate, after being reared as brother and sister, after 
enduring trials and sacrifices well nigh unbearable, 
are now brought into each others' arms by the same 
Power that fostered their true love and devotion all 
through childhood and now sanctions their holy union. 
This is a professional play and bears the stamp 
of approval of the Public, the Press and the Clergy. 
It is printed from the original Prompt Book or Man- 
uscript used at rehearsals. All the business and 
stage directions are fully indicated and if followed 
carefully the play cannot fail to thrill and entertain 
an audience. We call particular attention to the 
remarks on page 13 under the heading "Notes to the 
Producer." 



LIST OF PROPERTIES. 

First Act. 
Tin pail for Ethel. 
Flowers for Dorothy. 
Promissory note for Wayburn. 
Revolver for Wayburn fitted with Maxim silencer. 
Army rifle for Phil. 

Paper money, envelope and check for Wayburn. 
Telescope or suitcase for Johnny. 

Second Act. 
Two promissory notes for Wayburn. 
Pen and ink for Jerry. 
Box of candy for Wayburn. 
Matches for Wayburn and Father Ryan. 
Revolver for Wayburn. 
Crucifix for Father Ryan, 



FOR THE LOVE OF JOHNNY _11 

Small dagger for Wayburn. 
Lighted lantern for Jerry. 
Hunting knife for Turkey-Legs. 

Third Act. 
\ small framed photograph for Dorothy. 
Legal papers for Phil. 
Hunting knife for Turkey-Legs. 



COSTUMES AND CHARACTERISTICS. 

Jerrymeyer — About forty-five years old, a ranch- 
man, rightly inclined but very weak morally, com- 
pletely under the dominance of his wife.- Cowhide 
boots, flannel shirt, sombrero hat. 

Harriet — Jerry's wife. She is tall and bony. 
A'ery mercenary and mean, cold and passionless. Her 
features should be sharp and she should have red 
.hair. She talks lots and talks fast. A very impor- 
tant part. Cheap gingham dress in Acts I and II, 
old-fashioned black dress in Act HI. 

Wayburn — Should be tall and fine looking. Man 
about forty years of age. A wealthy mine and mill 
owner in the neighborhood. He should be dressed 
according to the custom of the day in that locality. 
Corduroy trousers tucked in cowhide boots and flannel 
shirt in first act. In second act, a dark business suit 
with low vest and white shirt. A large sombrero hat 
all through. He is a gun toter. 

Ethel — Leading woman. She is the niece of the 
Banks. Should be exceptionally pretty, her clothes 
at all times are poor, ragged work dress and a cheap 
wash dress in Acts I and II. Black dress in Act III, 
She is the slavey. 



12 FOR THE LOVE OF JOHNNY 

Johnny — Juvenile lead. Nephew of the Banks' 
and supposedly Ethel's brother. A fine looking man 
about twentj-two. He works in Wayburn's mill and 
should be dressed as a common laborer in first act. 
In last act he is well dressed. This part requires a 
good earnest actor with an appealing personality 
and lots of sympathy. As Mr. Woods he wears a 
business suit, gray pointed beard and gray hair, car- 
ries cane and wears glasses. 

Father Ryan — Leading man. A Catholic priest 
about twenty-seven years old. Hair on temples a 
little gray. He is tall and sturdy looking as though 
he were athletic. In the first act he wears no coat, 
using an Indian blanket over shoulders. In Acts II 
and HI, conventional garb. 

Dorothy — Ingenue. Daughter of Banks, a girl 
about eighteen, pretty and winsome, well-dressed. 

Phil — Boy about twenty-one. Fat, lively and 
good-natured. In love with Dorothy. Uniform, also 
civilian clothes. 

The Publishers advise that the military costumes 
have such variations as not to interfere in any way 
with the Government regulations regarding the wear- 
ing of uniforms. It is, of course, inferred that such 
costumes will be procured from a costumer who un- 
doubtedly will be able to supply something that will 
answer the purpose and avoid any criticism. 

Turkey-Legs — An Indian. Wears blanket in first 
and second acts. Third act, bare except for breech- 
cloth. A fine part and must be played by an actor 
with plenty of repose. Speaks in slow monotone. 



for the love of johnny 13 

notp:s to the producer. 

The well in Acts I and III can be easily made by 
using a common dry goods box about four feet square 
and three or four feet deep. The bottom of it 
should be padded in order to break Turkey-Legs' 
fall. A frame about three feet high should be built 
over it from which to suspend the rope and pulley. 

Wayburn's revolver is supposed to be fitted with 
a Maxim silencer, an article difficult to obtain and 
not necessary. Fit a round extension to the barrel 
two or three inches long and have Wayburn merely 
click the hammer when he shoots. 

Use no oil in the lamp in Act II. Fit a short wax 
candle into the lamp which will be extinguished with- 
out danger during the struggle. 

When Phil's trousers rip in the second act, have 
uhe Property Man in the wings tear a piece of 
strong cloth at just the right moment. Rehearse 
this carefully. 

The character of Woods is, of course, played by 
the same actor who plays the character of Johnny. 
^ While as Woods he wears a beard whicli can be 
quickly removed, he should use his own hair, pow- 
dered. 



14 FOR THE LOVE OF JOHNNY 



SCENE PLOT. 



Act I AND Act III. 



Back or Cyclorama Drop 




Act II. 



Backing 



Window I - . I 

1 I ■ 1 Archway \-\ 

D Chair ' ^ , ' A 

P—, Couch r\ 

-*- ^/'ach.ne Table \\ 

Door I 1 ^ 

7- Chair D^ ^ D Chair \ 



Dooi 



STAGE DIRECTIONS. 

R. means right of stage; C, center; R. C, right 
center; L., left; 1 E., first entrance; U. E., upper 
entrance; R. S E., right entrance, up stage, etc.; 
D. F., door in flat, or scene running across the back 
of the stage ; up stage, away from foothghts ; down 
stage, near foothghts. The actor is supposed to be 
facing the audience. 



FOR THE LOVE OF JOHNNY 



The First Act. 

Scene : A view of the front yard at Travelers' Rest 
Ranch. At R. is a set house with small porch and 
practical door. At R. C. a tree with bench built 
around its base. There is a well at L. C. with a 
bench in front of it. This is the old-fashioned zvell 
with pulley, rope and bucket and is large enough 
so that a man can crouch down behind its walls 
and not be seen by the audience. Running across 
the back of scene and extending down L is a stone 
wall or fence with the gate or opening up L. The 
back drop suggests the rolling country with moun- 
tains in the distance. 

At rise Ethel is drawing a pail of water from the 
well. She pulls up the bucket with some effort 
and after getting the bucket on the edge of the 
well proceeds to pour the water iiito a tin pail on 
the bench when Mrs. Banks enters quickly from 
the house. 

Mrs. Harriet Banks. 

{On porch.) 

Ain't you got that water yet.? 

Ethel Banks. 

{At well.) 

I'm coming with it right away, Aunt. 

Mrs. Banks. 
You know very well I've been waitin' for it and — 

Ethel. 
Yes, Aunt, I went for it just as soon as you told 
me. 

15 



16 FOR THE LOVE OF JOHNNY 

Mrs. Banks. 
Well, I shouldn't have to tell you everything, 
(Crossing to R. C.) Why in thunder don't you do 
something without being told once in awhile .^^ I told 
you to put your uncle's overalls in the wash last 
week and you didn't do it. 

Ethel. 
Yes, I did. Aunt, but they were so dirty I couldn't 
get them clean. (Crossing to C.) I wore the skin 
off my knuckles trying to get them clean. 

Mrs. Banks. 

Now look here. Miss Pretty, don't you argue with 
me — I'm just about sick and tired of takin' care of 
you and your worthless brother for nothing. 

Ethel. 
For nothing! 

Mrs. Banks. 
(At C.) 
Yes, for nothing! 

Ethel. 
But I've been w^orking on this place as hard as any 
girl could work ever since — 

Mrs. Banks. 
(Sits on bench R. C.) 
Well, it hain't paid your board — and your lazy 
brotlier ain't give me a cent of his wages for over 
two weeks. Ethel. 

(Crossing back to well.) 
1 know. Aunt, but he'll pay you — we have to have 

books— jy^j^g B^^j^g 

Hm! Books — books — that's all you two think 
about all the time — read, read, read! 



FOR THE LOVE OF JOHNNY 17 

Ethel. 
You took us out of school. 

Mrs. Banks. 
Shut up! Take that water in the house. (Ethel 
picks up pail.) Wait! Set it down there; I want to 
talk to you. Ethel. 

Please, Aunt, don't be unkind. 
Mrs. Banks. 
{Crossing to well.) 
I suppose you know it's cost your uncle a small 
fortune to bring you up. If your folks had left you 
anything it would have been different. 
Ethel. 
( With a far away look.) 
That's something I could never understand! 

Mrs. Banks. 
Don't talk in riddles to me. What is it you can't 
understand.? Ethel 

How it was that my father and mother left us, as 
you say, penniless. 

Mrs. Banks. 
Well, that's easy enough to understand if you'd jes' 
try to get it through your skull once. They was 
killed in an accident, both together. Your uncle 
heard about it and went on to straighten up his 
brother's affairs, and they were in a fine mess, too. 
Your uncle had to pay out of his own pocket a whole 
lot er bills that your father had run up and then 
he brought you two out here, raised yer and give 
you a good home. Hm ! You can't understand ! If 
it hadn't been for him you'd a been turned out in 
the streets. {Pause.) I think it's about time for you 
to git busy and try to pay us back some way. 



18 FOR THE LOVE OF JOHNNY 

Ethel. 
I've tried hard to earn my board. 

Mrs. Banks. 
Well, you ain't done it. You don't guess you've 
done it, do you? Your uncle's gittin' mighty tired 
of having you around here without a thought for the 
future. ^T^^j.. 

{Almost in tears.) 
What more can I do? (Rises and crosses with 
pail towards house.) 

Mrs. Banks. 

The best thing you can do is pay a little attention 

to Mr. Wayburn! .^ 

•^ Ethel. 

Mr. Wayburn! ,^ „ 

•^ Mrs. Banks. 

Yes, Dick Wayburn. He's the richest man around 

here and he's mighty interested in you. 

Ethel. 
Oh, you're mistaken. Aunt ! 

Mrs. Banks. 
No, I ain't mistaken, either. Anybody could see 
it if they wasn't half blind. The trouble is with you, 
you can't see anything or anybody but Johnny. Hm ! 
Anybody would think you two was sweethearts instid 
of bein' brother and sister. 

Ethel. 
But, Aunt, Johnny is the only one in the world 
who really cares for me. 

Mrs. Banks. 
Nothin' of the sort. I tell you Mr. Wayburn will 
marry you and if you take my advice you will grab 
him quick. He's in shape to give yer everything 



FOR THE LOVE OF JOHNNY 19 

you want and he can put Johnny in a good position 
in the mill. That's worth considerin', ain't it? 
Ethel. 
^But I don't love Mr. Wayburn. 

Mrs. Banks. 
What's that got to do with it.? You can learn to 
love him, can't you.f^ If you had any honor about 
you, you'd think something of payin' us back for 
all this kindness we've been givin' you. Take that 
water in the house and put half of it on the stove in 
the boiler. 

Enter Dorothy Banks through gate with armful 

of wild flowers. 

Dorothy Banks. 

I'll help you, Ethel. {Coming down C.) 

Mrs. Banks. 

No you won't. Let her do it — that's what she's 
bein' paid fer. (Eojit Ethel into house.) 

Dorothy. 
Why are you so hard on her, ma ? 

Mrs. Banks. 
You mind your own business. 
Dorothy. 
After you struck her last night, ma, she went to 
her room and I heard her crying all night long, just 
like her heart was breaking. 

Mrs. Banks. 
Don't you woi;ry about her heart. (Crosses up C) 
If you had any sense you'd know somethin' yourself. 
She and her brother are the most worthless two I 
ever seen. Why, they've been livin' here over thirteen 
years. Don't you suppose it's cost me and your pa 
somethin' ? Why, you might have had a lot of things 



20 FOR THE LOVE OF JOHNNY 

that we couldn't git fer you on account of havin' 
to feed and take care of them. Now she's got a 
chance to marry Dick Wayburn an' she says {imi- 
tating her) she don't love him. Hm, she could marry 
him an' pay us back some of this money we been 
spendin' on 'em. What are you doin' with them 
flowers.? (Coming down C.) 

Dorothy. 

Aren't they pretty, ma.? (Dorothy <:/^ L. C Mrs. 

Banks at C.) ,, ^^ 

^ Mrs. Banks. 

Pretty nothin'. Lot o' weeds. I hate flowers. 

They always remind me of funerals. Throw 'em 

away. -r^ 

*^ Dorothy. 

But, ma — 

Mrs. Banks. 

I don't want 'em around the house. 

Dorothy. 
But, ma, Phil's coming home today and you can't 
give a returned soldier a real welcome without flowers. 

Mrs. Banks. 

Ain't 3^ou got over your puppy love for that fat 

baby yit.? ^^ 

^ *^ Dorothy. 

Oh, ma, you're mean. 

Mrs. Banks. 
Here comes Mr. Wayburn now. There's a man — 

Dorothy. 
I hate him. {Crossing to steps.) 

Mrs. Banks. 

Well, you ought ter pick out a man like him, 
there'd be some sense to that — bring some money into 
your family. {Calling toward house,) Pa! 



FOR THE LOVE OF JOHNNY 21 

Jerrymeyer Banks. 
(Offstage.) 
Yes, ma. ^^^^ Banks. 

Come out. Here comes Mr. Wajburn. (Business 
of immping. Dorothy exits into house.) 

As Dick Wayburn enters gate Mrs. Banks goes 
zip to meet him. y^^^_ ^^^^^ 

How do, Mr. Wayburn. (^STie is very effusive.) 

Dick Wayburn, 
Good afternoon, Mrs. Banks. 

Enter Jerrymeyer Banks R. 
Wayburn. 
Hello, Banks. j^^^^^. 

{Crosses over and shakes hands.) 
Glad to see you, Mr. Wayburn. Come in. 

Wayburn. 
No, I wajnt to have a little talk with you and I 
reckon we'd better talk out here. 
Jerry. 
Well, have a seat. (Offers bench and Wayburn 
sits R. C.) Ma, maybe you'd better go inside. Mr. 
Wayburn wants to talk over a little business. 
Mrs. Banks. 
You know mighty well if there's any business goin' 
on around this ranch I'm gonner be in on it, don't * 

y""^' Wayburn. 

(Laughing.) 
That's right, Mrs. Banks. I reckon you can hear 
it. It's about that note of yours for fifteen hundred 
dollars. (Hands Mrs. Banks a note.) It falls due 
tomorrow. 



22 FOR THE LOVE OF JOHNNY 

Mrs. Banks. 

(Looking at note — amazed.) 
Jerrjmeyer, you ain't never told me about that — 

Jerry. 
I didn't want to worry you, ma. I borrowed it 
last year to plant with. 

Mrs. Banks. 
{To Wayburn.) 
You loaned him this money — all this money six 
months ago— Wayburn. 

Six months tomorrow. 

Mrs. Banks. 

(To Jerry.) 
Well of all things ! You weak-kneed rascal ! Why 
didn't you tell me about it? Well of all things.? He's 
been mopin' around here an awful lot lately an' I jes 
knowed there was something wrong. (To Jerry.) 
Why didn't you tell me about it.? 

Jerry. . 
Well what good would it do to tell you.? 

Mrs. Banks. 
{To Wayburn.) 
That's just the way he is, Mr. Wayburn. {T'o 
Jerry.) Y^ou — you'd make a devil out of a' angel, 
you would! j^^j^^. 

I suppose you're alludin' to j^ourself. 

Mrs. Banks. 
Well if I do say it myself, I had a pretty even 
temper before I married you. 

Jerry. 
Same as now — mad all the time.- 



FOR THE LOVE OF JOHNNY 23 

Mrs. Banks. 

{To Wayburn.) 
Oh, dear! I don't know what to do, Mr. Wayburn. 

Wayburn. 
Well that's the question. I don't want to be hard 
on you folks, but I do think we'd better have an un- 
del-standing. j^^^,^. 

I jes' can't pay now — but if — you'll give me a little 
more time— Waybukn. 

Why didn't you tell me you would have to have an 
extension .f^ You can't expect me to wait much longer 
than the time limit of your note and {to Mrs. 
Banks) fifteen hundred dollars is a pile of money, 
Mrs. Banks— Mrs. Banks. 

Yes, I know it is, Mr. Wayburn. {To Jerry.) 
You scary coyote! 

Wayburn. 

What is your ranch worth here.'^ 

Jerry. 

It's worth about twelve or fourteen thousand, but 

Mr. Wayburn — ^^. 

-^ Wayburn. 

I'd hate like thunder to have to levy against it — 

Mrs. Banks. 
Oh! Yes sir! I hope you won't do that. We can 
pay you in a little while. 

Wayburn. 
But tlie idea is, you've fallen down on your con- 
tract, don't you see? 

Mrs. Banks. 
{To Jerry, who is looking at her mournfully.) 
Don't look at met 



24 FOR THE LOVE OF JOHNNY 

Ways URN. 

Now there's just one way out of this. (Crossing to 
Mrs. Banks.) ^^^^ ^anks. 

Yes, Mr. Wa jburn ? 

Ways URN. 

I like you people and I want to do the square thing 
by you. Now I'm interested, very much interested, 
in your niece, Miss Ethel. Of course she doesn't 
know me very well — she's always seemed to try to 
avoid me— ^j^^^ ^^^^^^ 

Oh, that's jes' her way 5 Mr. Wayburn. 

Wayburn. 
Well if you would care to influence her a little in 
my behalf I'd -be inclined not to press this note till 
you're better able to pay. 

Jerry. 
(To Wayburn.) 
Y^ou mean you want to marry my niece .^^ 
Mrs. Banks. 
{Flarz7jg up.) 
Why of course that's what he means, you great 
big ninnie. {To Wayburn.) Ethel is a mighty fine 
girl, Mr. Wayburn. She'd make a good wife for 
you, too. She's jes' as pretty as a picture, works 
all the time and never complains. I surely would 
like to help her git a man like you, Mr. Wayburn. 
I was talkin' to her about you just a little while ago. 
Wayburn. 
Yes, and what did she say.? 

Mrs. Banks. 
Well, she seemed a little surprised — she — of course 
she don't know her own mind, but I can make her 
come round all right. You jes' leave her to me. 



FOR THE LOVE OF JOHNNY 25 

Wayburn. 
How about her brother? 

Mrs. Banks. 
Hm ! I never thought of him — 

Wayburn. 
What about him? 

Mrs. Banks. 
I kinder think he'd be hard to handle. She and 
that brother of her'n stick to each other hke a puppy 
to a root. She can't do nothin' without tellin' him 
about it, and he's a worthless no account cuss, Mr. 
Wayburn. I wish you could git him out of the way 
somehow. Wayburn. 

What do you mean ''get him out of the way".'^ 

jMrs. Banks. 
I don't know how I could handle her with him 
around. Wayburn. 

He's a trouble maker all right. He's, been stir- 
ring up a lot of trouble with my men at the mill. 
Suppose I send him away, say, on business? 
Mrs. Banks. 
That's good ; then when you git him way off some- 
where — keep him there. I promise you it won't be 
no time before I have the girl fixed to marry you. 
Wayburn. 
You're a clever w^oman, Mrs. Banks. 

Jerry. 
Y^ou just bet your life she is. My wife — 
Mrs. Banks. 
Oh! shut your mouth. (To Way^burn.) You 
jes' tend to Johnny, Mr. Wayburn, and leave her to 
me. I'll have lier in your arms in no time. But I 
think we ouorht to work fast. 



26 ^ FOR THE LOVE OF JOHNNY 

Wayburn. 
{Looking at watch.) 
I'll send him to Frisco tonight on that seven- 
fifty. Let's go inside and I'll write a letter intro- 
ducing him to a friend of mine there. 

Jerry. 
He'll be back from work pretty soon. 

Wayburn. 
Do you think he'll go? 

Jerry. 
Sure he'll go. He's pretty ambitious, Mr. — 

Mrs. Banks. 

Put it up to him like this: you're sending him 
there as your agent — that'll swell him up — (Way- 
burn laughs and chuckles) then after you git him 
there {she lowers her 'voice to a whisper thinking 
Jerry will not hear) as far as I'm concerned you can 
have somebody knock out his brains. 

Jerry. 
( Overheaj'ing. ) 
Oh! Harriet! 

Mrs. Banks. 

(Crossing to Jerry R. C.) 

See here, Jerrymeyer, you ain't gittin' indignant 

at me, are you? Hm! Step inside, Mr. Wayburn, 

3^ou'll find Ethel in there somewhere. Jes' make 

yourself at home a minute while I talk to this man 

o' mine. „^ 

Wayburn. 

(Crosses R. to porch. As he exits.) 

Don't be too hard on him, Mrs. Banks. (Exit 

Wayburn into house.) 



FOR THE LOVE OF JOHNNY 27 

Mrs. Banks. 
(At 11. C.) 
Now look here, Jerry, no use posin' as a saint to 
me, 'cause I knoAV you ain't an' neither am I. You 
know it would be the very best thing that could hap- 
pen for us if he'd do away with Johnny for good. 

Jerry. 
{At C.) 
But lie's my own nephew, my brother's child. 

Mrs. Banks. 

Yes, but you didn't think nothin' of takin' this 
place away from 'em, did you? This ranch belongs 
to them, don't it? ., 

J ERRY. 

{Crosses to well and sits.) 
By rights it's all theirs. 

Mrs. Banks. 
{Following him.) 
Well when their folks was killed you wasn't too 
durned good to gobble up everything they had, and 
when you brought the children out here did you tell 
them this was their father's ranch and you was just 
livin' on it and when they came of age — 

Jerry. 
{Remorsefully^.) 
No, no, but I wish I had now. 

Mrs. Banks. 

No you don't neither. The only difference be- 

tAveen 3'ou and me is that I'm truthful and you lie 

to yourself. 

Jerry. 

I'm sorry I ever lied to them. 



28 FOR THE LOVE OF JOHNNY 

Mrs. Banks. 
Well you lied to me, too. When I married you I 
thought this place was yours or you wouldn't a got 
me. -r 

Too bad! Too bad! 

Mrs. Banks. 
Too bad nothing. (Sitting on bench with him.) 
Here's the chance we've been waitin' fer. In the first 
place we gotter favor Mr. Wayburn and in the next 
place we'll get rid of Johnny and marry Ethel off. 
Then we're free of 'em both and we take no more 
chances. They're of age now and just as long as 
they're on this place we're not safe. If anybody was 
curious enough to look up the title of this property 
they'd find these two children was the real heirs and 
they'd put us out. You betcher your life they'd do 

it' t««- Jerry. 

I feel faint — I — 

Mrs. Banks. 

You're jes' lily livered, that's all. Come in the 
house and git some brandy. Keep your mouth shut 
now and leave things to me. (Exeunt into house.) 

Enter Ethel from rear of house. She comes in 
hurriedly as though avoiding someone. As she comes 
down with back to gate Phil enters through gate. 
He is dressed in khaki uniform, carries gun and his 
right coat sleeve is hanging empty at his side. 

Phil. 

(Ate.) 

Who ffoes there.? „ 

^ Ethel. 

[Turning surprised and startled.) 

Oh! Phil, how you frightened me. 



^ FOR THE LOVE OF JOHNNY 29 

Phil. 
Howdy, Miss Ethel. Dorothy here? 
Ethel. 

"^'^s- Phil. 

Just got back with my regiment, going to be mus- 
tered out next week. 

Ethel. 

{In dismay.) 

What happened to your arm, Phil.'* 

Phil. 

( Winking. ) 

Oh! that's all right, it's under my coat. 

Ethel. 
I thought you'd lost it. 

Phil. 
I'm just hankering after a little regular sympathy 
from Dorothy. (Ethel laughs. Phil accidentally 
drops Ills gun which startles Ethel.) It isn't loaded, 
Miss Ethel. Ethel. 

{Both coming down C.) 
I suppose you've killed hundreds of soldiers. 

Phil. 
Naw, I got in too late. All I did was to get up 
at five-forty-five every morning and march. Oh! 
I learned how to march all right. I learned how to 
charge too and could always beat the guy that was 
running after me. I'd a been promoted if I hadn't 

made a mistake. „ 

Ethel. 

How was that, Phil.? 

Phil. 

Oh! just a little mistake in direction, that was all. 

Here we were all lined up ready to charge. There 



30 FOR THE LOVE OF JOHNNY 

was the enemy. Then the captain jelled out 

"Charge!" 

^ Ethel. 

(Sitting R. C. on bench.) 

Oh! how exciting. 

Phil. 

You bet'your life it was exciting. I got so excited 
that I charged in the wrong direction. (Ethel 
laughs.) You know I could never understand why 
they got us up every morning at five-forty-five. 
No one would ever think of bothering us at that 
time of day. I don't like the army much. They 
make you do the funniest things. While we were all 
waiting to be disbanded, just because I was fat they 
made me climb the flagpole and take down the flag. 
Then when I came down they made me put on a 
mustard plaster. „ 

^ ii,THEL. 

A mustard plaster.? 

Phil. 

Sure, so I wouldn't take cold when I was being 

mustered out. -^^ 

Ethel. 

(Laughing, going up to porch.) 

Wait just a minute and I'll call Dorothy. She's 

expecting you. p^^^ 

(Crosses R.) 

Honest, is she. Miss Ethel.? Did she say anything 

about me.? -r^ 

Ethel. 

Why she's been talking about you in her sleep, 

that's all. Now don't you tell her I told you. 

Phil. 
She's been dreamin' about me and I've sure been 
dreamin' about her. You know I was thinking I'd 



FOR THE LOVE OF JOHNNY 31 

have it all arranged with the priest at the Mission 
to marry us the minute Dorothy said the word. 

Ethel. 
You have been dreaming some, haven't you, Phil.? 

Phil. 
But they told me as I passed the Mission — 

Ethel. 
Did you really stop at the Mission? 

Phil. 
Sure I did and they told me Father John had left 
two weeks ago. He was my friend. 
Ethel. 
He was everyone's friend. The new priest, Father 
Ryan, they call him, has been expected here for the 
past week but he hasn't come yet. 
Phil. 
Where is he coming from.? 
Ethel. 
San Francisco, I understand. 

Phil. 
Gee ! I'll have to get on the good side of him. You 
know. Miss Ethel, I think a priest can do an awful 
lot for a fellow, who's in love. 
Ethel. 
Here comes Dorothy. 

Dorothy enters and sees Phil from porch. 

Dorothy. 
Phil! 

Phil. 

(Extending his left arm.) 
Dorothy! (Dorothy sees the empty sleeve and 
stops thunderstruck L. C.) 



32 FOR THE LOVE OF JOHNNY 

Dorothy. 
Phil, your arm! Oh! (She buries her face in her 

"""•) Phil. 

(Winking at Ethel.) 

What? Oh! my arm. That's nothing, shot off, 

that's all. T^ 

Dorothy. 

(Weeping, her face still buried, she won't look at 

him. ) 

Oh! Phil! 

Phil. 

All in the life of a soldier! 

Ethel. 

(Out of sympathy for Dorothy.) 

Oh, Phil, don't— 

Phil. 

(Motions Ethel to keep quiet as she exits into 

house.) 

Well, aren't you going to shake hands .^ I've still 

got one. -r^ 

^ Dorothy. 

(Taking his hand but not looking at him.) 
Wh}^ didn't you tell me in your letters.^ 

Phil. 

Now Dorothy, you know I can't write with my left 

hand. t^ 

Dorothy. 

But you wrote me every day. 

Phil. 
That's so — but you see — this just happened. 

Dorothy. 
(Letting out a wail.) 
Oh! does it hurt now.^ What did you do with it? 



FOR THE LOVE OF JOHNNY 33 

Phil. 

{At C. enjoying it hut thinks it's gone fa?' enough 
now.) 
I just buried it for a few minutes and now I'm go- 
ing to dig it up again. (Unbuttons his coat.. He 
is right behind her now and takes her in his two 
arms.) Your sympathy is all I want, Dorothy. I 
just thought I'd see if you cared. (Dorothy is sur- 
prised at first and is inclined to laugh, then blubbers, 
pulls away and becomes angry.) 
Dorothy. 
Oh ! your arm hasn't been — oh ! go Avay from me, 
I hate you. (Dorothy goes up around well, Phil 
following.) 

Dorothy ! P^^^' 

Dorothy. 
I never want to see you again. 

Phil. 
{Intercepting her.) 
But, Dorothy, listen, please. 

Dorothy. 

You're perfectly heartless and I never want to see 
you again. I don't like you any more. {Sits on 
well bench.) Phil 

I was just fooling. Really I didn't mean it. I 
didn't mean to be heartless, Dorothy. You ought 
to be glad I didn't get killed. You don't seem to 
realize that I've been fighting for my country and 
you. (Phil sits beside her at R. end of bench.) A 
soldier's life is no child's play, I tell you. (Doro- 
thy is unmoved. Phil continues persuasively.) 
Think of the trenches and think of having to get up 
every morning at five-forty-five ! {He now takes her 



34 FOR THE LOVE OF JOHNNY 

hand tenderly.) Dorothy, aren't you rather glad 
I'm not wounded? 

Dorothy. 
{Relaxing,) 
Of. course I'm glad, but I aon't thhik it was nice 
of you to fool me that way. Have you been home 

y^^- Phil. 

No, I wanted to say hello to you first, Dorothy. 
Mother thinks I won't be home till tomorrow and I'm 
going to surprise her anyway. 

Dorothy. 
I like you in your soldier suit, Phil! 

Phil. 
(Rises and struts proudly C. and back.) 
Do you? Gee, I'm glad! Oh, I'm a regular soldier 
now, Dorothy — no monkey business — I learned how 
to fight. 

During the following speech Turkey-Legs, the 
hidian, walks on through the gate and comes directly 
behind Phil at well. He is closely followed by 
Father Ryan. Phil 

As I was coming over from the station I saw a 
big band of Indians — and the minute they saw me 
you ought to have seen them run. I wouldn't hurt 
the poor devils but they were good and scared I tell 
you. I found out since I've been a soldier that all 
you have to do when an emergency arises is to be 
ready to fight. (He sees Turkey-Legs standing im- 
mediately back of him.) Oh! Lord! 

jj^jj j Turkey-Legs. 

(Phil at seeing Indian slides over and sits heavily 
on R. of bench as Dorothy, on L. of bench, herself 



FOR THE LOVE OF JOHNNY 35 

surprised rises and the bench flops over on top of 
Phil, who lands on floor — dejected.) 
Dorothy. 
(Behind well.) 
What is it, please? p 

. (Crossing back of Dorothy extreme left.) 
Yes — (gf^lps) what is it — please. Don't be afraid, 
Dorothy, I'm right behind you! (Father Ryan is 
now C.) Turkey-Legs. 

(At L. C.) 
Good man, black robe, wants drink water. 
Father Ryan. 
(At C.) 
I hope we're not intruding — may we have a drink 
of water.? Dorothy. 

Certainly — I'll get you a' glass — 

(As she goes to house she calls.) 
Dad! (She exits.) 

Father Ryan. 
Thank you, this cup will do nicely. 
(Turkey-Legs serves him two cupfuls, then drinks 
from the cup himself — as Phie watches the proceed- 
ings dubiously.) 

In the meantime Dorothy returns with a glass. 

Dorothy. 
Here is a glass! (Crossing to Father Ryan C.) 

Father Ryan. 
Thank you — I've had some out of the cup — it was 
mighty good, too — and since you've been so kind — I 
shall have some out of your glass. 

(Dorothy serves him. Turkey-Legs walks down 
around well to get cup in order to take another drinks 



36 FOR THE LOVE OF JOHNNY 

too — and as he does so, Phil, who hasn't taken his 

eyes off the Indian, side-steps very promptly around 

well as though he were playing tag.) 

Phil. 

Kings Ex — now I've got my fingers crossed! 

Jerry enters from house. 

Jerry. 
(^Surprised at seeing Phil.) 
Well Phil, how are you — 
Phil. 
Howdy — Mr. Banks ! 

Jerry. 
{At R. C.) 
So you're back alive, I see — are these folks with 

yo^' Phil. 

{Crosses to Jerry.) 
Oh, no — they're not with me — 

Dorothy. 
This must be the crowd of Indians you saw down 
the road, Phil. Pla, ha ! 

Positions. 
Father Ryan. 
Dorothy. Turkey-Legs. 

Phil. 

Turkey-Legs. 

Huh! 

Phil. 

Huh ! yourself — and see how you like it. 

Father Ryan. 

{Amused at side play.) 

Ha, ha! We just stopped for a drink of water. 

I'm on my way to the Mission — strange as it may 



FOR THE LOVE OF JOHNNY 37 



geciii — I^m Father Ryan, and I'm going there to take 
the place left vacant by Father John. 
Phil. 
(Much relieved crosses over and shakes hands.) 
Father, I'm mighty glad to know you. Expect to 
do a little business with you before long. {Winking 
at Dorothy.) Father Ryan. 

Well I'm very glad to know you, too, my son. I 
hope to make the acquaintance of all you good people 
in these parts before long. You no doubt wonder at 
my appearance, but I had a very unfortunate occur- 
rence — I may say a very dangerous one. In crossing 
the State by auto, my chauffeur and I were held up 
by some Mexicans — who killed him. 
Dorothy. 
Oh, how terrible! 

Father Ryan. 
They were good enough to spare my life but they 
took our car and stripped me of some of my vest- 
ments. Had it not been for this good Indian, who 
passed me later on a burro, I should indeed have been 
in a sad predicament, but he guided me here. 
Jerry. 
Well you sure have had a time of it. Sit down 
a while and rest. Father — the Mission is four miles 
further on. We'll have some supper in a little while. 
Y^'our man can wait for you out in the back and we'll 
give him something to eat, too. 
Father Ryan. 
Thank you. You are very kind, and as I haven't 
tasted food for thirty-six hours, I'll gladly avail my- 
self of your generous hospitahty. (Turning to Tur- 



38 FOR THE LOVE OF JOHNNY 

key-Legs.) Oh, John, wait for me out there, will 

y""^' Turkey-Legs. 

Huh. 

Phil. 

Now be a good little Indian. 
(Turkey-Legs crosses R. and exits behind house.) 

Do-ROTHY. 

(Crosses to porch.) 
Come on in, Phil, and see Ma — 

Phil. 
Oh, is Ma inside? 

Dorothy. 
Yes ! 

Phil. 
Well, wait till I get my gun. (He picks it up from 
off ground where it fell and exits into house with 
Dorothy.) 

Father Ryan. 
(At well.) 
May I know your name, sir.? 

Jerry. 
Sure, I'm pretty well known in these parts — been 
living here for sixteen years. 

Father Ryan. 
Indeed, that long? Then you were acquainted with 
Father John? 

Jerry. 
Oh yes, everybody around here knew him — he was 
mighty well liked, too. 

Father Ryan. 
Y^es — I have heard so. I have never been through 
this country before, but I fancy I am going to like 
it immensely. 



FOR THE LOVE OF JOHNNY 39 

Jerry. 

How did you. happen to be traveling through bj 
automobile? 

Father Ryan. 

Well, I had to visit several inland missions on my 
way here, and they were not any ways near a rail- 
road. It was rather strange how I happened to be 
sent out here — it was really a matter of choice on my 
part — whether I should take this mission or one in 
the East, and I chose this one on account of a rather 
forlorn hope of possibly meeting up with a little 
brother of mine from whom I was separated nearly 
twenty ^^ears ago. , 

i) ERRY. 

Is that so.^ „ -^ 

Father Ryan. 

Yes — we were in an orphanage together in Denver. 

Jerry. 
So you're from Denver, eh? 

Father Ryan. 
I lived there as a boy. 

Jerry. 
I been there — quite a town, Denver. I used to 
have a brother there, too — he and his wife got killed 
years ago in a train wreck. 

Father Ryan. 
Is that so? ^ 

J ERRY. 

Yes — but you was saying? 

Father Ryan. 
Yes, yes — my little brother and I were in an or- 
phanage together in Denver. He was four years old 
at the time and I was nine — a fine little fellow. Oh, 
I was so fond of him. I sometimes think the great 



40 FOR THE LOVE OF JOHNNY 

love which God has given me for humanity was 
started and developed through my devotion to my 
brother. He didn't seem to progress well at the 
orphanage — and it was a very great sacrifice on my 
part to let him go — but I fought it out with myself 
and decided it was best for him. I believe now I 
made a great mistake. 

Jerry. 
Well, what became of him? 

Father Ryan. 

That I don't know. Pardon me, what did you say 

rour name was? _ 

Jerry. 

Banks — Jerrymeyer Banks. 

Father Ryan. 
Now isn't that a coincidence? 

Jerry. 

What? 

Father Ryan. 

Johnny — that was my brother's name — was adopted 

into a family by the name of Banks — Denver people. 

They had a little girl, as I remember it — they called 

her Ethel. They were good Catholics and they wanted 

a little boy to rear with the little girl, as brother and 

sister, believing very naturally that both children 

would be benefited by this association. Unfortunately, 

after they took Johnny, they would not permit him 

to communicate in any way with me — and of course 

I could not go to see him. I know they did everything 

possible to make him forget that he was ever in an 

orphanage, which, after all, was quite natural, for 

I presume they wanted him to feel that he was in his 

own home and look upon them as his parents. 



FOR THE LOVE OF JOHNNY 41 

Jerry. 
(During this speech the truth has been dawning upon 
him. ) 
Well, what happened — then what happened? 

Father Ryan. 
{Innocently.) 
That's about all there is to tell, excepting that I 
learned several years afterwards, upon my own in- 
vestigations, when I had left the orphanage, that 
both Mr. and Mrs. Banks had died together in some 
kind of an accident, and that the children had been 
sent to a ranch in the State of New Mexico, and — 
(Jerry is greatly agitated. Father Ryan notices 
that he is upset.) There, I have bored you, I fear, 
with my own troubles, but I thought perhaps that you 
living out here all these years — could give me some 
information. _ 

J ERRY. 

Because my name happens to be Banks — you 

Father Ryan. 
No, no, my friend, — please do not misunderstand 
me. I merel}^ remarked the coincidence. 

Enter Mrs. Banks on porch. 

Mrs. Banks. 

(Pulls himself together, rises.) 
Oh, 3^es, jNIa — this is Father Rj^an, Ma, come to 
take charge of the jMIssion. 

Father Ryan. 
I am very happy to meet 3'ou, INIrs. Banks. 



42 FOR THE LOVE OF JOHNNY 

Mrs. Banks. 

(Crosses to C.) 
An' I'm pleased to meet you, Father — heard about 
3^our accident — too bad. Them Mexicans are a 
fright. I fixed a httle bite for you 'cause I knowed 
you must be pretty nigh starved. 

Father Ryan. 
That's very kind of you. While fasting is good for 
the soul, too much is hard on the body. 

Mrs. Banks. 

Land sakes — step in. Father. Just make yourself 

comfortable. 

(Jerry motions for her to let Father Ryan go 

in — she does so.) ^ 

^ Jerry. 

( Whispering. ) 

If Johnny comes home before he goes, don't let him 

meet the Priest. ,^ ^^ 

Mrs. Banks. 

Why not.? 

•^ Jerry. 

Never mind why — I don't want 'em to talk to each 

other — keep 'em separated. 

Ethel comes on from behind house. She has 
changed her dress for the evening, and while she ap- 
pears to better advantage, it is still apparent that her 
clothes are old and shabby. She goes over and out 
of the bach gate, looking off down the road — as 
Wayburn comes on from front of house. 

Wayburn. 

Miss Ethel ! -r. 

Ethee. 

{Turning — at seeing him is surprised.) 

Oh, Mr. Wayburn — I was just looking for my 

brother — 



FOR THE LOVE OF JOHNNY 43 

Wayburn. 
And I've been looking for you. 

Ethel. 

I have been in my room dressing. Johnny usually 
comes home from the mill about this time and I always 
try to meet him. Wayburn. 

He's a lucky boy to have a sister like you waiting 
to welcome him home every evening. 
(He has gone to her now and they come down C.) 

I reckon you think a great deal of Johnny, don't 

yo^? Ethel. 

Oh, I do, Mr. Wayburn — he's all I have — and — 

Wayburn. 
I've noticed him about the mill — he's a good 
worker, very conscientious — and very deserving. 

Ethel. . 
Oh, I'm so glad to hear you say that. He is a good 
boy, just as good as he can be — all the way through. 
I know he will feel mighty proud when I tell him that 
you said you had noticed his work, because he's ambi- 
tious, I think for my sake as much as for his own. 
He's up every night studying long after the others 
have gone to bed. 

Wayburn. 
What is he studying.'' 

Ethel. 
Electrical engineering. He's done a lot of wiring 
for you at the mill lately. 

Wayburn. 
Oh, that accounts for the new system of lighting 
there. Well, I didn't know he had done that. I'll 
have to see that he gets paid for it, and — - 



44 FOR THE LOVE OF JOHNNY 

Ethel. 
Thank you, Mr. Wayburn. {She looks steadily at 
him as though afraid to speak her thoughts.) 

Wayburn. 
{Misunderstanding her steady gaze.) 
What are you thinking about now? Come on, con- 
fess. „ 

Ethel. 

You want me to be perfectly frank with you, sir.'^ 

Wayburn. 
Why yes, of course. 

Ethel. 
{Simply.) 
I don't think Johnny likes you very well. 

Wayburn. 
Why is that, I wonder .^^ 

Ethel. 
Of course he's just a laborer and I know he hasn't 
had an opportunity to meet you much personally. 

Wayburn. 
No, I never associate with my men — it's bad policy. 

Ethel. 
He has his own ideas of equity and fair play — and 
I don't think he's ever quite forgiven you for the way 
you treated old man Miller and his two boys. 

Wayburn. 

{Flaring up.) 

So he objects to the way I treat my men, does he? 

I suppose he will in time show me how to conduct my 

business. -^^ 

Ethel. 

Oh, no, Mr. Wayburn — there, I was afraid you 

would misunderstand me. {Crosses and sits at well.) 



FOR THE LOVE OF JOHNNY 45 

Ways URN. 
(Who has been listening intently hut thinking all the 
while.) 
You need not worry about my misunderstanding 
you, Miss Ethel. Everything you do in my eyes is 
right. (Ethel loohs at him quickly.) I'll take care 
of your brother handsomely — because I know that 
you are fond of him — and — and — I want to do some- 
thing for you. Ethel. 

Oh, thank you, sir — we'll show you how we appre- 
ciate it, too. Wayburn. 

I was going to send my foreman to Frisco tonight 
to inspect some second-hand machinery for the mill — 
and I've decided to give Johnny a chance to go in- 
stead, and if he makes good, I'll double his salary and 
give him a respectable job. (Ethel greatly af- 
fected.) Well, what do you think of that? 

Ethel. 
{She has a hard time to restrain the tears of grati- 
tude.) 
Mr. Wayburn — you're the first — your kindness — 
(she breaks). Wayburn. 

There, there! 
(She is sitting at the ivell; he leans over her now.) 
That's all right. Now tell me, what have you 
thought of your own future .^^ 
Ethel. 
(Looking up and drying her tears.) 
I — I don't understand what you mean. 

Wayburn. 
I think you know what I mean. Miss Ethel. I've 
been interested in you from the very first — and I'm 
in a position to make you a very happy girl ! 



46 FOR THE LOVE OF JOHNNY 

Ethel. 
You have made me very happy already, Mr. — 

Wayburn. 
Oh, I don't mean that — you know what I mean. I 
offer you the chance to get away from all this drudg- 
ery — and become free, wear beautiful clothes — drive 
your own horses — your own auto and be admired by 
everybody. Why, you don't have to do this slavey 
work around here. 

Ethel. 
But Johnny? 

Wayburn. 
Why, I've just told you — I'm going to take care 
of him, too. Now you think this over till tomorrow 
— you're the prettiest girl I've ever seen — (He tries 
to embrace her but she quickly eludes him.) 

Johnny is seen coming through the gate. Ethel 
runs to him, 

Ethel. 
Here he comes now — you're late this evening. 

Johnny. 
{Taking her in his arms. Wayburn remains at 
L. C.) 

Good evening, little sister, how's everything been 
today? {Kisses her.) 

Ethel. 
Johnny, here's Mr. Wayburn. 

Johnny. 
Good evening, sir! 

Wayburn. 
How are you, John? 

{The two are up by gate. Wayburn sits at well 
and waits.) 



FOR THE LOVE OF JOHiNNY 47 

Johnny. 
(Holding her out at arm's length.) 
Well, I see you're all rigged up to welcome me 
home — just as if I'd been away a month — ah! {He 
again takes her in his arms. Wayburn grunts.) 
Pity I can't be as nice and slick and clean when I 
come home to you. {Quietly — suspiciously.) What 
has he been saying to you, sister? 

Ethel, 

Something wonderful — for you! Mr. Wayburn — 

{They come doxvn.) 

Positions. 

Johnny. 

^ Wayburn. 

Ethel. 

Wayburn. 

John, my boy, give me your hand. 

(Johnny is amazed, thunderstruck , hut he wipes off 
his hand instinctively and offers it to Wayburn.) 

I've been Avaiting here this evening especially to 

see you and have a talk with you in the presence of 

Miss Ethel here. _ 

Johnny. 

Yes, sir! ,„ 

Wayburn. 

I've been noticing your work at the mill latelj^ and 

I think you're about ready for promotion. 

Johnny. 
Yes, sir. (Ethel looks on gleefully.) 

Wayburn. 
In the first place, I want to thank you for that wir- 
ing you did, and to tell you I appreciate the interest 
you've shown about the place — and I'm going to pay 
you for it. 



48 FOR THE LOVE OF JOHNNY 

Johnny. 
Oh, that's all right, sir — I'm much obliged. 

Wayburn. 
That isn't all — you know. Gillis is — 

Mrs. Banks entering on porch. 

Mrs. Banks. 
Ethel, why ain't you put them potatoes — (sees 
Wayeurn). Oh, excuse me, Mr. Wayburn — I didn't 
know you was out here. Ethel, we never will git 
supper ready tonight. 

Ethel. 
(Crossing to porch.) 
I'll come right in. Aunt, but the potatoes are on 
the stove cooking. Excuse me, Mr. Wayburn. 

Mrs. Banks. 
(As Ethel and Mrs. Banks ea:it.) 
Well, why didn't you say they was on the stove.'' 
(They exit R.) 

Wayburn. 
(Crossing to bench R. C.) 
I was going to send Gillis to Frisco tonight to 
inspect a second-hand boiler for the mill — but I 
thought afterwards that it would be a great oppor- 
tunity for you — and I'm going to give you the 

chance. ^ 

Johnny. 

Have you enough confidence in me to trust to my 
judgment on it? 

Wayburn. 

Why certainly — I know you can give an accurate 
report — don't you think so? 

Johnny. 
Yes, sir, I'm sure I can, but — 



FOR THE LOVE OF JOHNNY 49 

Wayburn. 
(Crossing to Johnny C.) 
Now I want to do something for you, John, and 
when you come back I'm going to put you on a regu- 
lar salary. t 

^ Johnny. 

Haven't you been giving me a regular salary, sir? 

Wayburn. 
No, you've been working for wages — I said salary. 
I think Gillis is getting a little too old for his job — 
and I'm going to make you foreman. 

Johnny. 
Well, I'd like mighty well to be promoted, Mr. 
Wayburn — my sister and I have been wishing for 
something like that for a long time— but-^I wouldn't 
think of taking Mr. Gillis' job away from him. 

Wayburn. 
(Forgetting himself.) 
Oh, you're too damn honest ! 

Johnny. 
(Quicldy -flaring up.) 
No one can question a man's right to do the square 
thing as he sees it! I'm glad you've given me this 
chance to talk to you, Mr. Wayburn. I am going to 
be frank with you, sir, hoping that you will under- 
stand me and not take offense. 

(During this speech Wayburn grows restless.) 

Wayburn. 
We haven't any time to talk now, John — the ques- 
tion is, will you go to San Francisco for me tonight .^^ 

Johnny. 
No, sir, I will not. 



50 FOR THE LOVE OF JOHNNY 

Wayburn. 
(At first he is decidedly/ piqued and inclined to 'be- 
come angry for he is used to having his own way — 
hut he now changes his tactics.) 

Do you know — I admire your nerve — your grit — 
I don't know what your reasons are for refusing this 
wonderful opportunity I've made for you — you must 
reahze, as your sister does, that it would be a splen- 
did thing for both of you. I've talked it over with 
your Aunt and Uncle — 

Johnny. 
I'm sorry to say that they're not interested in us — 

Wayburn. 
They're interested enough to want to see you make 
money and "better provide for yourself and sister. Of 
course I don't know what differences there may be 
between you. Johnny. 

Well, if you'll listen to me a minute, Mr. Wayburn, 
and after learning something of my ideas, still want 
to give me a chance — 

Wayburn. 
{Sits at R. C.) 
Why, of course, that's the way to talk. I'll listen 
to anything you've got to say. 
Johnny. 
You're a rich man, Mr. Wayburn, and I'm just a 
common laborer in your employ, but I know what 
other employers in the country are doing and you 
are behind the times. 

Wayburn. 
What do you mean by that.^ 
Johnny. 
We're all human beings — and in a larger sense 
we're all working to the same end — you and I and 



FOR THE LOVE OF JOHNNY Si- 
all of us; and that end is life and liberty and the 
pursuit of happiness. Now I'm speaking for each 
and every one of the men in your employ. You know 
they haven't got a chance in the world and it's be- 
cause you won't give it to them. 
Ways URN. 
{Amused.) 

Ha, ha ! I'm afraid you take this too seriously. 
Johnny. 

It is serious. Wayburn. 

Well, if my men don't like the way I treat them, 
why don't they go some place else; they don't have 
to work for me. Johnny. 

K (Picking him up quickly.) 

^ Yes they do — because one day's lay-off means hun- 
ger for themselves and their loved ones. Because you 
keep them in debt — you own them body and soul. 
It's part of your plan — by selling them their supplies 
from your store on credit — supplies they can buy no 
place else — at exhorbitant prices — at the end of the 
week they're always just a little behind. And so they 
work from day to day, and hope from week to week 
— and month after month goes by — and then the 
end of the year comes around — still the lash of cruel 
necessity drives them on — on — on — day after day, 
month after month, year after year, always in debt, 
till finally years have come and gone. They have 
made you rich— ^they who have given everything to 
the last bitter drop — and what — what have you given 
them? Nothing? Wayburn. 

Johnny, you missed your vocation. You should 
have been an orator. Jqhnny. 

You say you want to give me a chance. All right 



52 FOR THE LOVE OF JOHNNY 

— give me the opportunity to help my fellow work- 
ers — to make their living and working conditions 
endurable. Treat them fairly, like human beings, and 
let them share in the success of all the good they ac- 
complish in your business — then, instead of merely 
working for their bread and butter they will start 
to work for you, sir! They will take pride in what 
they do, for your interests and their interests will 
be the same, and inside of another year you will not 
only have made more money, but you will be at the 
head of an army of loyal and contented workmen. 
That is the opportunity I ask of you, Mr. Wayburn, 
and I ask it in behalf of your workmen. 
Wayburn. 

What you have said has made a profound impres- 
sion on me, my boy. I've never heard it put that way 
before. I promise you I'll think it over very seri- 
ously and carefully. , 

Johnny. 

Oh, will you, Mr. Wayburn.'^ 

{^He is all ablaze with eagerness.) 
Wayburn. 

It's a pretty big subject — but I think — I won't 
say positively — I think — since you've got your heart 
set on this proposition, that I'll co-operate with you. 
Johnny. 

Well, if you'll do that, Mr. Wayburn, I can't help 
but feel kindly towards you — and respect you — and 
of course I'll go to San Francisco for you, and wel- 
come the opportunity. 

Wayburn. 
(Crossing to C.) 

Good! I gave your Uncle a letter of introduction 
for you — now you'll have to hurry — to one of my 



FOR THE LOVE OF JOHNNY 53 

old friends there. He'll show you around the town 
in fine style. {They start up toward house.) This 
boiler is a second-hand one, and I want you to 
buy it — provided you think it's in good condition. 
Here — {giving him an envelope) is the address — all 
you have to do is to look the boiler over carefully 
and then come on back home. 

Johnny. 
Yes, sir — thank you, sir! 

Wayburn. 

Oh, that's all right — I'm glad to do it for you. 

Just as soon as you get cleaned up you can walk 

down the road to my place and tell Mose I said to 

take you to the station in the machine. Here's some 

money. That'll pay your way there nicely, and here's 

a check for fifty — my friend there will cash it for 

you — buy your ticket back and spend the rest any 

way you like. -r 

^ "^ Johnny. 

(Offering his hand.) 

Thank you, Mr. Wayburn. 

Wayburn. 
(Not taking his hand.) 
Now hurry, 'cause you haven't much time. 

Johnny exits into house. Wayburn now strolls 
over to well — he is fairly well satisfied with himself — 
lights a cigarette — thinks a moment, then starts back 
as though to enter the house. In the meantime Tur- 
key-Legs has come from back of the house. He is 
looking for Father Ryan. Wayburn sees Turkey- 
Legs and is greatly surprised. 

Wayburn. 
Well, what do you want.^^ 



54 FOR THE LOVE OF JOHNNY 

Turkey-Legs. 

{Starts — amazed at seeing Wayburn — he recognizes 

him. ) 

Huh! „, 

Wayburn. 

{Ate.) 

What are jou hanging around here for.^* 

Turkey-Legs. 
Huh! 

Wayburn. 

I suppose, like all the rest of them, you don't un- 
derstand unless you want to, and then you under- 
stand too damn well. I hate Indians, and if you 
know what's good for you, you'll beat it, quick, and 
stop hanging around this place. 

(Turkey-Legs loohs him over quietly, very much 
to Wayburn's disgust — then slowly walks over and 
sits on edge of well, facing R.) 

Turkey-Legs. 
Me understand little. 

Wayburn. 
Well, then, what do you want.^ 

Turkey-Legs. 
White brother mean to Injun — Injun like white 

brother! 

Wayburn. 

Yes, you do ! 

Turkey-Legs. 

Why do white brother no like Injun.? 

Wayburn. 
Where did you come from? 



FOR THE LOVE OF JOHNNY 55 

Turkey-Legs. 
Me guide good man, black robe, from San Pueblo. 
(Wayburn starts.) You been San Pueblo.? 

Wayeurn. 
No, me — why? Are jou from San Pueblo.'^ 

Turkey-Legs. 
(Watching him as a cat watches a mouse.) 
No, me no live there — they kill heap much Injuns 
in that place. Y^ou know white man named JefF 
Harding.? Wayburn. 

(Feigning little interest.) 
Can't say I ever heard of him — what about him.? 

Turkey-Legs. 
He live there four years ago — they name him 
man with silent gun — his pistol make no noise. He 
kill five Injuns and three white men there — then he 
run away and they no see him now no more. 

Wayburn. 
(Collecting himself.) 
Well — why are you telling all this to me.? 

Turkey-Legs. 
(Deadly quiet — earnestly.) 
Because my name's Turkey-Legs and yoMV name's 
JefF Harding! Wayburn. 

(He is alarmed for fear the folks in the house should 
come out.) 
See here, John. I put all that behind me — and 
I've come out here to start all over again. I've got 
a good name out here and I've made a lot of money. 
Now — (lookif»g slyly toward house) — all you've got 
to do is to keep quiet and I'll give you all the money 
you want. 



56 FOR THE LOVE OF JOHNNY 

Turkey-Legs. 
But jou kill my brother and my squaw. 

Ways URN. 
Sh! I tell you I'll pay you — 
Turkey-Legs. 
{Slowly in deadly earnest.) 
You bet you pay me. I try four years to find you 
and now I catch you. Why you kill my squaw ? 
Wayburn. 

^" • Turkey-Legs. 

No worry! I no hurt you while good Priest in 
there, Injun feel glad he catch you at las' — after 
many moons he catch you — huh! 

Wayburn. 
NoAv listen here, John — don't try to scare me. I've 
got a record you know — and if you don't keep quiet 
I might send you to your happy hunting ground — 
Turkey-Legs. 
I catch you first! 

Wayburn. 
You — why you couldn't catch a frog. 

Turkey-Legs. 
I no catch frogs — but I catch you — huh — I 
know— Wayburn. 

{A very quick move and Wayburn shoots him.) 
You know too damn much! 

(Turkey-Legs falls backward into zoell. Way- 
burn's gun is fitted with Maxim silencer and conse- 
quently only makes a slight hissing noise or click.) 
Now stay down there and rot. 
(He empties his gun of the discharged cartridge, 
which he throws away, reloads and puts his gun care- 



FOR THE LOVE OF JOHNNY 57 

fulli/ away, starts for the porch, then there are voices 
heard and the others come out to tell Johnny good- 
bye,) 

Enter Johnny and Jerry from house, followed by 
Mrs. Banks, Father Ryan, Ethel, Phil and Dor- 
othy. Ethel goes directly to Wayburn, C. Johnny 
crosses over to them — he carries dilapidated grip. 
Phil and Dorothy remain on porch as Mrs. Banks 
and Jerry go dotvn R. 

Jerry. 
.{As they enter.) 
Well, Johnny's ready, Mr. Waj^burn, and I think 
he understands everything. 

Wayburn. 
Good. You haven't much time, John, now don't 
miss your train. (Shakes hands. Johnny and 
Ethel go up C. to gate.) 

Father Ryan. 
{On porch with Phil and Dorothy.) 
Where is the boy going. ^^ 

Phil. 
He's going west on business for Mr. Wayburn. 

Mrs. Banks. 

{To Johnny, who is up stage with sister.) 
No time for long farewells, Johnny! (Johnny 
ignores her.) Dorothy. : 

{On porch with Phil.) 
Now's your chance — ask him now. {She pushes 
him forward.) Phil 

{Crossing C. to Wayburn.) 
Say, Mr. Wayburn, I'd hke mighty well to work 
for you myself. I just got back with my regiment 



58 FOR THE LOVE OF JOHNNY 

and I'm at liberty. (Dorothy of course is very much 
interested — all the while Father Ryan keeps his eyes 
glued on Johnny. Jerry steps from porch down R.) 

Wayburn. 
Is that so — well, what can you do.? 

Phil. 
(Taken unawares by this abrupt question.) 
Oh, I can march and climb — and get up at five 
forty-five ! 

(Dorothy, Mrs. Banks and Jerry laugh and 

Wayburn is disgusted. Mrs. Banks comes down to 

Jerry, R.) 

Jerry. 

(Who has been noticing Father Ryan looking at 

Johnny.) 

Did the Priest get a chance to talk with Johnny? 

Mrs. Banks. 

No — he didn't even meet him. 

Johnny. 
No — of course I won't forget little sister — I'll 
write — ^and I'll be back again inside of three days. 

Wayburn. 
(Aside.) 
Not if I can help it. 

Johnny. 
(Kissing Ethel again.) 
Goodbye, everybody ! 

Ethel. 
Goodbye, Johnny — I'll miss you so much. 



FOR THE LOVE OF JOHNNY 59 

Omnes. 

So long, Johnny — goodbye — good luck — take care 

of yourself. ^^ ^ 

•^ Iather Ryan. 

{Who has ivorhed toward Johnny.) 

If you don't object, my lad, I'll walk down the 

road a ways with you. {He goes out gate.) 

{There is general consternation — Mrs. Banks, 

Jeruy, Wayburn.) 

Wayburn. 

Who is that man ? ^ 

Jerry. 

{Crossing to Wayburn, C.) 

He's the Priest come to take Father John's place 

at the Mission. He had an Indian guide. 

(Phil and Dorothy cross at back to well.) 

Wayburn. 
Are you sure he's a Priest .^^ 

(Ethel is looking down road at hack. Dorothy 
and. Phil have worked their way over to well.) 

Jerry. 

{Nervously.) 

I think, Ma — I'll walk along with them — 

{He starts out as Dorothy at well screams — seeing 

the head of Turkey-Legs emerge from well dripping 

with water — general amazement — Wayburn stands 

enrasred. ) 

Jerry. 

What are you doing in there .^ 

Mrs. Banks. 
.Well of all things ! 

Turkey-Legs. 
Huh ! Heap much water down there ! 



60 FOR THE LOVE OF JOHNNY 

Wayburn. 
( Who has not taken his eyes off Turkey-Legs. 

Wayburn is L. C.) 
What were you doing in that well ? 

Turkey-Legs. 
(With a sly look — full of meaning at Wayburn.) 
Me gonner catch a frog! 

Quick Curtain. 




"GOOD-BYE, JOHNNY— I'LL MISS YOU SO MUCH" 



FOR THE LOVE OF JOHNNY 

The Second Act. 

Scene: The scene is an interior. The living room 
of the ranch house. There is a door down R — 
which supposedly leads off to the rear rooms of 
the house. A practical door made of wood with 
a lock and key, which key is seen in the lock on 
the living room side. At the hack extreme left 
IS a large curtained archway which leads to entry 
way^ of front door, which is supposedly just out 
of sight off left of entry way. At the center of 
back flat is a window with curtains, and to one 
side, the R. side, is a hook-shelf, with a lot of odd 
'volumes and magazines stuffed away in it. The 
room is not untidy in appearance, hut old-fashioned 
and countrified. There are a numher of charac- 
teristic chairs ahout the room,~a sofa, and on a 
table L. C. are a numher of magazines, also cata- 
logues of some mail order houses, —and an oil lamp. 
1 his lamp has to he especially made—for it is upset 
in a fight and falls off table and goes out. Down 
U.isa sewing machine with chair behind it— the 
machine is facing up stage away from audience. 
A mirror on R. wall. 

As curtain goes up, Dorothy is picking up odds and 
ends of thread, small pieces of fabric, etc. Ethel 
IS seated at machine with hack to audience, just 
completing dress for Dorothy. 

That's mighty sweet of jou, Dorothy, to help me. 
61 



^2 FOR THE LOVE^F_J21i^^^^iX 

Dorothy. 

Well, I'd help you a lot more if Ma wasn't so 
mern about it. Besides, aren't you makmg a new 
dress for me-aren't you always doing something for 
me? Ethel. 

Ah, that's part of my work. I like to sew for you, 
Dorothy. Dorothy. 

Why? Ethel. 

Because you always look so nice-and I always 

look so— {pause). 

Dorothy. 

You could look nice, too, if you had P-^^yJ-;-^ 
to wear-if Ma wasn't so durn stmgy, she d buy you 
some pretty stuff once in a while. 
Ethel. 
No, she doesn't like me— 

Dorothy. 
She doesn't like anybody-I think she hates her- 
self-she' the sari.e brand of step-mother tha you 
J X. + ;„ UWm tales— I never could imagine why 

where she gets o**-"^;f J^!\" vt.p— hm' (Ethel 

~fj:ir?,:r:;;r< -..'■.7 ----■) 

Geel Is it finished? 

Ethel. 

Now try it .., .nd ... l" H l~l'- «»' "" '"' 

dress as dialogue continues.) 



FOR THE LOVE OF JOHNNY 63 

Dorothy. 
Do you like Philip, Ethel? 

Ethel. 

Why of course I like him — I don't see how anybody 
could help but like him — he's so good-natured. I 
don't think he ever could get real angry. 

{During above speech Ethel places chair R. C. 
on which Dorothy stands as Ethel observes the 
hang of skirt.) 

Dorothy. 

Don't you know that all fat people are good- 
natured.^ We went to church last night and met the 
new Priest, Father Ryan. He's a grand man, Ethel, 
just as sweet and jolly as he can be — you'll like him 
I know. He asked all about everybody here, espe- 
cially you — he seemed awfully interested in j^ou — 
and asked if we all Avent to church regularly. I told 
him you and Johnny did, and I did — and I'd see that 
Phil did hereafter ; then he asked about Ma and Pa 
and said he was coming over today or tomorrow 
and have a talk with them. I didn't say boo — but 
I thought if he ever got Ma to come to church he'd 
be going some. 

(All during this speech Ethel has been busy put- 
ting the dress on Dorothy, fixing it up here and 
there and looking it over woman like — the dress is 
now on and she stands back.) 

Ethel. 
Now, how do you like that.? 

Dorothy. 
{Gets down and crosses up R. to mirror.) 
Oh, I like it — I think it's just as sweet as it can 
be — don't you.? 



64 FOR THE LOVE OF JOHNNY 

Ethel. 
It looks mighty nice on you — I'm so glad you like 

it! 

Dorothy. 

(Coming down R. C.) 

Thank you, Ethel! (She kisses her.) You're just 

awful good to me — and you always have been. 

Ethel. 
(Takes Dorothy m her arms.) 
Because you're a dear sweet girl and I love you. 
Sometimes I think, Dorothy? that if it hadn't been 
for you I should have given up long ago. 

Dorothy. 
Oh, don't say that! 

Ethel. 
(Rolling sewing machine back against R. wall above 
R. door.) 
I mean it. With Johnny at the mill all day long, 
at times I have become so lonely, uncertain and dis- 
satisfied. They've made it so plain that we were not 
wanted here, and yet there seemed to be no possible 
chance of bettering our conditions, until Mr. Way- 
burn decided to give Johnny an opportunity- — and 
now I believe it has been for the best. And after all, 
Dorothy, you needed a mother as much as I did, and 
it was in mothering you that I was able to forget — 
the other things. 

Dorothy. 
(Thoughtful — at table.) 
Ethel — somehow I don't like that Dick Wayburn 
— I never did like him. He always reminded me of 
a — some kind of a frog — kind of slimy. 



FOR THE LOVE OF JOHNNY 65 

Ethel. 
{Laughing.) 
Oh, I don't think he's as bad as that — it was 
mighty good of him to notice Johnny's work and to 
show his appreciation by sending him to San Fran- 
cisco. He promised to raise his salary, too, and give 
him a much better position. 

Dorothy. 
Yes, — but he's got something up his sleeve — I'll 

bet you. 

Ethel. 

Please don't take that away from me, dear — it's 
my only hope — my one great chance of becoming 
free. He asked me to marry him! 

Dorothy. 
The son-of-a-gun ! But surely you — 

Ethel. 
I don't know — I haven't had a chance to talk it 
over with anyone — I don't love him, if that's what 
you mean — but if I thought it would help Johnny — 

Phil bursts in archway at R. rear, . 

Phil. 
Hello, everybody! {Both girls start.) 

Positions. 

Phil. 
Ethel. 

(table) 

Dorothy. 
Dorothy. 
Oh, Phil, you like to scare people, don't you.? 



66 FOR THE LOVE OF JOHNNY 

Phil. 

(Seeing Dorothy's new dress.) 

Gee ! You must a been expecting me — you sure do 

look great — doesn't she, Ethel? 

(Ethel 7iods and Dorothy is pleased that he has 

noticed her new dress, so she turns around to show 

it off, taking R. C.) 

Where's Ma? ^ 

Dorothy. 

Up stairs. p 

(Coming down C.) 
Then we're all safe for a little while — I came over 
to ask you to marry me. (Ethel laughs.) 

Dorothy. 
Oh, Phil, don't be silly ! 

Phil. 
Oh, go on, marry me, won't you? The last thing 
I told Father Ryan last night was that I'm going to 
engage his professional services in a very few days. 

Dorothy. 
Oh, you didn't? p 

I sure did, and he's strong for it, too. 

Dorothy. 
(Winking at Etitel.) 
Well, you'll have to get my mother's consent first. 

Phil. 
It's all off! (Both girls laugh.) Why do I have 
to get her consent? I don't want to marry your Ma. 

Dorothy. 
Anyway you'll have to get a job first. 



FOR THE LOVE OF JOHNNY 



67 



Phil. 

(Just below table.) 

Don't wcrry — I've got one all salted down waiting 

for nie— now I'm going to be serious a minute. 

(Ethel laughs.) You don't think it's possible, do 

you, Miss Ethel? Now listen— Pa's promised to stake 

me, and I'm going into the real estate business — 

honest— he says there's a fine field in that line for a 

fellow like me. ^ 

Ethel. 

Phil, I think that's splendid. 

Dorothy. 

When do you start? 

Phil. 

Right away. I'm going to have my office in the 
county seat— my own name on a shingle outside the 
door— then all I have to do is to rear back m^ my 
chair— put my feet on the desk— smoke a black cigar 
—and let 'em come to me. (Struts around the room.) 
Furthermore, if I make good there in six months. 
Dad promised to give me the httle home m Santa Fe. 

Dorothy. 

I'm glad that — 

Mrs. Banks. 

(Calling off stage R.) 

Ethel! 

Ethel. 

Yes! 

Dorothy. 

Here comes Ma! 

Phil. 
Here goes Phil! (Grabs for his hat and starts 
toward archway.) 



68 FOR THE LO VE_OFJOHNMY 

Dorothy. 
Wait! (Phil comes down R.) 

Mrs. Banks enters R. door,~stops on threshold. 
There's a dead silence — she doesn't see Phil who is 
standing down left. 

Mrs. Banks. 
{Coming to C.) 
Why don't jou answer me? 

Ethel. 
I answered you, Aunt. 

Dorothy. 
She did answer. 

Mrs. Banks. 

(Shaking her finger at Ethel.) 

Don't you dare talk back to me, you lazy brat ! 

(Ethel stands immovable.) 

Dorothy. 
Oh, Ma! ,, ^ 

Mrs. Banks. 
You shut up! ^ 

^ Phil. 

(Has been gulping, but finally musters up enough 
courage. ) 
See here, Mrs. Banks. 

Mrs. Banks. 

(Seeing him for the first time.) 
Well of all things — who let you in here.? 

Phil. 

(Boldly.) 

I know I'm in your home, Mrs. Banks— and with 

all due respect to you— I— I— (Mrs. Banks gives 

htm a quick fiery look. He withers under her gaze.) 



FOR THE LOVE OF JOHNNY 69 



Mrs. Banks. 

What are you gabbering about? 

Phil. 
This poor girl didn't do anything. 

Mrs. Banks. 
That's jes' it — she never does anything — besides 
you mind your own business. {To Ethel.) Now 
don't you commence blubberin'. Go to BelPs farm 
and fetch two pails of drinkin' water — take them 
buckets on the back porch. 

Phil. 
Why that's half a mile down the road ! 

Mrs. Banks. 
Well, what if it is — we gotter have drinkin' water 
— and that's the nearest well to ours. Since that 
skulkin' Indian fell in our well the water's been so 
roily it ain't been fit to wash with much less to drink. 
{To Ethel.) Well go on, what are you standing 
there gawkin' at me fer.? (Ethel exits quickly out 
of door R.y p^^^ 

Well, I'm going to help her carry — 
{Starting to cross R. meets Mrs. Banks.) 
Mrs. Banks. 
No you ain't — she'll carry 'em herself. She does 
harder work than that around this place and she'll 
do lots more if she stays here. Are you goin' to take 
Dorothy to that dance this evenin'.? 
Dorothy. 
Sure, haven't you noticed my new dress ? 

Phil. 
That's why I came over — I'm going to take Doro- 
thy and Ethel both. 



70 FOR THE LOVE OF JOHNNY 

Mrs. Banks. 

You ain't gonner take Ethel. 
Dorothy. 
Oh, why, Ma? j,^^^ jjanks. 

'Cause she ain't a-goin' — she hasn't got nothin' 
decent to wear — and I wouldn't want you seen with 

Dorothy. 
But Ma, I'll lend her one of my dresses — and we 
have a dance so seldom. 

Mrs. Banks. 
You heard what I said, didn't you? (To Phii..) 
And if you're gonner take Dorothy dressed up in 
that — don't you think you oughter have on some 
decent clothes yourself? 

Phil. 

Well, my civilian clothes, I'm afraid, will fit me too 

soon — you know I've gained about twenty-five 

pounds since I joined the army. How about it, 

Dorothy — you want me to change? 

Mrs. Banks. 

Dorothy. 
Suit yourself, Phil. 

Phil. 

(Going up with Dorothy to archway.) 

Well, I'm going home and hang on some glad 

rags — just for you — if I can get into 'em — but I'll 

have to hurry — goodbye ! I'll call for you soon as 

I can get back. 

(Phil makes a face at Mrs. Banks, who turns at 
that moment toward him, whereupon he giggles and 
bows.) 

Ta-ta, mother! (Phil exits archway.) 



FOR THE LOVE OF JOHNNY 71 

Dorothy. 
(Coming down R. C, to Mrs. Bakks.) 
Don't you think my dress is pretty, Ma? {Turns 
around to show it.) 

Mrs. Banks. 
The goods is all right, but I can't say much for 
the way it's made— looks like it was cut out with a 
meat axe. You goin' to your room.? 
Dorothy. 

^^^' Mrs. Banks. 

Well, holler to your Pa to come in here. I want 
to talk to him. Dorothy. 

{Stopping at R. door.) 
Here's Pa now. j^^^^^ 

{Entering R. door.) 

Dressed so soon? 

Dorothy. 
{In a whisper.) 
Just wait — you're going to get it. 

Jerry. 
Where's Ethel? 

IMrs. Banks. 
I sent her to fetch some water. What do you want 
with her? j^^^^^. 

{Crossing to chair R. of table.) 
Ain't it time she was getting ready for the dance? 
Mrs. Banks. 
{At R. C.) 
Dance ? 



72 FOR THE LOVE OF JOHNNY 

Jerry. 

Ain't she goin^ to the dance tonight? Poor kid, 

I don't think she's ever been to a dance in her hfe — 

and I can't help feehng sorry for her the way things 

are turning^ out. ^^ -r, 

^ Mrs. Banks. 

(Crossing to chair back of table.) 

Well of all things ! What do you suppose Mr. 

Wayburn fixed to have that dance fer tonight.'^ 

Jerry. 
How do I know.f^ 

Mrs. Banks. 

That's jest it — you don't know nothin'. Well, it's 
just because he wants us all to go so as he can come 
over and see Ethel alone. 

Jerry. 
You think he's honorable in his feelings for her.^^ 

Mrs. Banks. 
What do you care if he's honorable or not so long 
as he takes her away from this ranch .f^ I tell you we 
got to get rid of her. 

Jerry. 
But Ma, you don't feel about her the same as I do 
— blood's thicker than water and she's my brother's 

^^^^^' Mrs. Banks. 

I jest knowed your knees would begin to shake 
pretty soon — and you'd start whinin'. It ain't pity 
what's troublin' you — it's fright ! Just because you 
talked to that Priest yesterday — 

Jerry. 
(Rises and with hands clenched behind his backy 
walks up and down, greatly troubled.) 
Yes — and — I know something. 



FOR THE LOVE OF JOHNNY 73 

Mrs. Banks. 
If you know anything — I wish you'd tell it. 

Jerry. 
Well, I can tell it, too. 

Mrs. Banks. 
Well, spit it out. 

Jerry. 
{Coming to table.) 
I know that Father Ryan is Johnny's brother. 

Mrs. Banks. 

He's what.^ -r 

Jerry. 

He's Johnny's brother. 

Mrs. Banks. 

Why, you're crazy; how can Johnny and Ethel 

and that Priest — ^ 

Jerry. 

Ethel is no relation to him — he's Johnny's brother. 

Mrs. Banks. 

{Looks at him a moment, then shakes her head.) 
Now I know you're crazy. You mean he ain't a 

Priest.^ You mean he knows about the ranch here? 
{During following speech at table, Mrs. Banks 

rises and paces back and forth back of table, greatly 

agitated.) ^ 

^ ^ Jerry. 

He don't know nothing yet. He don't even know 

that Johnny's his brother — at least he didn't when 

he left here yesterday — but you heard him say he 

was going to walk down the road with him. Lord 

knows what happened when they got together. He 

told me he was out here looking for his brother — I 

always thought the boy and Ethel was real brother 



74 FOR THE LOVE OF JOHNNY 

and sister — but according to his story, Johnny's no 
relation to Ethel at all and was adopted by my 
brother out of an Orphanage. 

Mrs. Banks. 

{Stopping back of table and pounding it.) 
I knew it! Ah ! I knew durn well. They was always 
too mushy — to be real brother and sister. They just 
been deceivin' us all the time. 

Jerry. 

(Crossing to chair R, and sitting remorsefully.) 

You're just talking foolish — why they don't know 

they ain't brother and sister. I wish I'd never started 

this thing. I got a good mind to go right to Father 

Ryan and confess the whole business. 

Mrs. Banks. 
(Crossing to him.) 

Now look here, Jerry, don't make a bigger fool of 
yourself than you jest naturally are. You'll do 
nothing of the kind. 

(Crossing and sitting L. of table.) 

When I married you, you told me this place be- 
longed to you. Now what do you suppose I spent 
all these years raisin' them youngsters fer.? They 
owe me something, don't they.? And they're too no- 
account, worthless to pay it — so I gotter git it in my 
own way, an' if you're a-scared to finish something 
that you started, I'm not. So you jest keep your 
mouth shut and leave things to me. Hm! You talk 
about goin' to confession ! Now that a new Priest 
has come out here and knows all about your crook- 
edness, you want to run to him and confess. If that 
ain't jest like you. You gittin' scared about your 
soul.f^ 



FOR THE LOVE OF JOHNNY 75 

Jerry. 
I was a mighty good Catholic before I married 

^ * Mrs. Banks. 

Did I make you quit goin' to church.? 

Jerry. 
Yes, you did — and you put me up to all this devil- 

Mrs. Banks. 
You know very well, Jerrymeyer Banks, that hell 
will never be full till you git there. {There is a knock 
on the front door.) Come in! 

Wayburn enters through archway, 

Wayburn. 
How are you, folks.? 

Mrs. Banks. 

Howdy-do, Mr. Wayburn — step right in! 

Jerry. 
{Going up and shaking hands.) 
Good afternoon, Mr. Wayburn, have a seat. {Of- 
fering chair R. of table.) It's been a fine day. 

Wayburn. 
{Sits.) 
Yes, pretty warm — how's Miss Ethel today.? 

Mrs. Banks. 
Oh, she's all right — she's gone down to Bell's to 
fetch some water. You know that dirty Indian 
roiled our well all up yesterday. 

Wayburn. 
By the way, have you seen that Indian since.? 



% FOR THE LOVE OF JOHNNY 

Jerry. 
(Standing C.) . 

No, I suspect he won't bother us any more after 
what Ma said to him yesterday. Ha, ha! You left 
in such a hurry you didn't hear the big row. 

Wayburn. 
(Suspiciously.) 
Did the Indian say anything? 

Jerry. 
Ha, ha! Ma didn't give him a chance — I tell you 
she did all the talking. 

Wayburn. 
Where do you suppose he came from.? Do you 

Mrs. Banks. 

Sure — he guided the Priest to the Mission — you 

Wayburn. 
Then he knows the Priest ? 

Jerry. 
Oh, yes — they're pretty friendly — why.? 

Mrs. Banks. 

I shouldn't wonder if he ain't campin' down there 
at the Mission — that is, if he's still here. 

Jerry. 
We can ask Father Ryan about him. What do 
you want with him, Mr. Wayburn.? 

Wayburn. 

Lord, I don't want him ! Is Dorothy going to the 
party tonight? j^rs. Banks. 

Yes, Phil's gone home now to dress. He's gonner 
to take her, and Jerry meyer and me are goin' down 



FOR THE LOVE OF JOHNNY 77 



to Leavenworths to visit a while, so you and Ethel 
can have your understanding here all by yourself. 
(Jerry gives her a quick look and she responds with 
expression signifying "shut up.'') Now, how about 
the renewal of that note, Mr. Wayburn ! (Jerry 
crosses hack of table.) 

Wayburn. 
I have the new note all made out Mrs. Banks, 
just as we talked it over — due six months from now. 
(He gives it to her — she reads it and hands it over 
to Jerry to read.) You people have kept your 
agreement with me and I'm going to keep mine with 
you. If you'll just sign that I'll give you back 
your old note in place of it. 

Mrs. Banks. 
Jerry, go git a pen and ink. 
Jerrv. 
(At R. door.) 
I tell you what, Mr. Wayburn, that's a mighty big 
rehef to me. I'll bring a pen right away. (He exits 
door R.) Wayburn. 

(Low tone to Mrs. Banks.) 
How long will you folks be gone tonight? 

Mrs. Banks. 

W^l^- Wayburn. 

Don't hurry yourselves — you know we've never had 
a chance to talk matters over quietly alone. It may 
take some time to convince her. 
Mrs. Banks. 

You can take your own time. Nobody's gonner 
bother you. When you fixin' to marry her.? 



78 FOR THE LOVE OF JOHNNY 

Wayburn. 

That's it — I've got to work so fast — and she may 

not be wilhne^. ,^ „ 

^ Mrs. BANifs. 

Well, there's ways to make her willin'. If I was 

you and she got stubborn, I'd just pick her up and 

carry her away — she'd mighty soon come around 

when she found out who was boss. 

Wayburn. 
{Laughing.) 
No — ha, ha! I think I've got a better way than 
that — tell me, does she like candy .^^ 

Mrs. Banks. 

I guess she does — why.? 

Wayburn. 
Oh, nothing — except that I've got a little box put 
up for her. 

Enter Jerry with pen and ink, R. door. 
Jerry. 
STou never can find anything around this house 
when you're in a hurry. 

Wayburn. 
Oh, the note. Yes, just sign it here. 

Jerry. 

(Signs it.) 

There you are! ^^^ 

*^ Wayburn. 

Mrs. Banks! (She signs.) 

Mrs. Banks. 

(At L. of table.) 

Yes — there, that's all right! 

Wayburn. 

Yes, and here's the old note — thank you. 



FOR THE LOVE OF JOHNNY 79 

Jerry. 
(Back of table.) 
Tell me, Mr. Wajburn — excuse me for asking — 
what did you do with Johnny? 

Wayburn. 

(Sitting R. of table.) 

Oh, he's all right. As I understand it, you wanted 

to get rid of him — so did I — so I sent him on a little 

trip I have sent others on before and they have never 

come back. 

Jerry. 

You don't mean — ? 

Wayburn. 
No, I don't mean that he's dead, or anything like 
that. I simply mean that that letter I gave him was 
addressed to a friend of mine who operates a Shang- 
hai Bureau — you know what that is.^^ 

Mrs. Banks. 

No. 

Jerry. 

I know what a Shanghai rooster is. (Wayburn 

laughs.) 

Wayburn. 

That's a little different. These Shanghai men 
make it a business of rounding up all the bums they 
can find, and they forcibly put them to work aboard 
ships sailing the high seas — so by this time tomorrow 
night our friend Johnny will be sailing his way over 
the great Pacific Ocean — and the chances are he'll 
never come back — ha, ha ! Y^ou see it's all in know- 
ing how to do it. 

Mrs. Banks. 

Y^ou're a wonderful man, Mr. Wayburn. 



80 FOR THE LOVE OF JOHNNY 

Jerry. 
(Going up to window at back.) 
After all that might prove to be a good thing for 
Johnny, mightn't it? 

Ways URN. 
Oh, it will be a good thing for him all right. 
They'll keep him working, if that's what you mean — 
and he'll have no opportunity to write home and 
complain — or to practice his oratory. 

Mrs. Banks. 

• Now we've got some news to tell you. It's about 

this Priest. 

Jerry. 

{Who has been looking out of window.) 

That your new team out there, Mr. Wayburn? 

Wayburn. 

(Rising.) 

Ye's, I bought them last week. What do you think 

of them? 

Jerry. 

Let's go outside. Ma, and look at Mr. Wayburn's 

new horses. {Starts out archway.) 

Wayburn. 
{Following Jerry.) 
Come on, Mrs. Banks — we can talk out there. 

Mrs. Banks. 
{As they go out.) 
Well, it's about this Father Ryan and Johnny. 
Did you know they were real brothers? {Exit 
through archway.) 



FOR THE LOVE OF JOHNNY 81 

Enter Ethel, R. door, folloived by Father Ryan. 

Ethel. 
{Coining to table — he remains standing.) 
Now sit down, Father — you must be tired. (^She 
pulls up a chair.) 

Father Ryan. 
Tired? I never get tired. That's just good exer- 
cise for me. ^ 

Ethel. 

(Sweetly.) 

It isn't often I have anyone to help me, and I'm 

not used to it. ^ ^ 

Father Ryan. 

But no man would let you carry those two heavy 

pails that distance — besides I was on my way over 

here especially to see your aunt and uncle. 

Ethel. 

They don't seem to be in. Just make yourself at 

home. I'll go and look for them. (Starting toward 

archway.) ^ ^ 

'^ ■ Father Ryan. 

No, please don't ! I regard it as a very happy oc- 
currence for me, because I'm glad to have the oppor- 
tunity to talk to you, and to get a little better 

acquainted. -r^ 

^ Ethel. 

Then please sit down. 

Father Ryan. 
After you. (She looks surprised, then sits R. of 
table. Father Ryan then sits R.) Did I under- 
stand you to say you were fond of Father John.? 

Ethel. 
Oh, yes ! He was one of my few real friends. 



82 FOR THE LOVE OF JOHNNY 

Father Ryan. 
I have a letter from him teUmg me of you and 
requesting me to advise and to help jou in any wiiy 
I can, which of course I am only too happy to do. 
Ethel. 
That's just like him — isn't it.? He was always 
thinking of others. 

Father Ryan. 
Are you happy, my child? 
Ethel. 
Fatlier, I have been happier since yesterday than 
ever before in my life. 

Father Ryan. 
Why since yesterday.'^ 

Ethel. 
Because of Mr. Wayburn's kindness. Oh, I have 
prayed so long for Johnny, and it seemed to be — 
at last — an answer to my prayers. 
Father Ryan. 
You know, last evening, I walked up the road with 
Johnny, as far as Mr. Wayburn's place. He told me 
something about himself and you — I was naturally 
very much interested in him. 
Ethel. 
You're interested in him.? 

Father Ryan. 
Why, yes — but hardly any more than I am in 

3^^^— Ethel. 

Oh, Father, we'll both strive to deserve your 
friendship! Father Ryan. 

I was keenly touched by his devotion to you — his 
all absorbing love for his little sister — you are his 
sister, are you not.? 



FOR THE LOVE OF JOHNNY 83 

Ethel. 
Oh, yes ! We are everything and all to each other 
— I suppose he told 3^011 that our parents died when 
we were both very young. 

Father Ryan. 

Yes. -^ 

Ethel. 

And how my Uncle brought us out here, for we 

had no other relatives, and reared us on this ranch. 

Father Ryan. 

Yes. -r^ 

Ethel. 

And how, after we had been here two or three 

years, I think it was, my Uncle married this — woman 

— we call her Aunt. Of course, she's no relation of 

ours, and that's the reason why — why — 

Father Ryan. 
{Rising and crossing to her.) 
Go on, my child, yofi may trust me — 

Ethel. 
Why she hates us so — 

Father Ryan. 
Are you quite sure she — dislikes you.^^ 

Ethel. 
We feel no bitterness toward her — if she would 
only let us alone. Oh, Father, I have never dared 
to speak to a living soul about this — 

Father Ryan. 
You may tell me — 

Ethel. 
I have borne the brunt of her unkind words — her 
cruelty, because she has centered them mostly on me 



84 FOR THE LOVE OF JOHNNY 

— and I, not daring to tell Johnny, because I knew 
he would not have the patience to bear it, as I have 
borne it all these years. She wants us to leave this 
place — but we have never been able — she pays me 
nothing. I work for my board, and the little Johnny 
makes at the mill goes to pay his board, and to buy 
a few books. We've educated ourselves as far as we've 
gone. I think my Uncle would be kinder to us if 
it weren't for her^ — she is just as mean to him at times 
as she is to us. I am sure our parents must have 
left us something — but if they did — it has been 
taken away from us — and yet — oh, Father — these 
thoughts have been burning — burning in my breast 
so long, that now I feel as if my heart would break! 
(She stoops at his feet and cries.) 

Father Ryan. 
(Lifts her up.) 
There, there, my child! Peace and be still! 
Our Father who art in Heaven, hallowed be Thy 

name. 
Thy kingdom come — Thy will be done on earth as it 

is in Heaven. 
With the help of our Heavenly Father I shall strive 
to make her see you in a different light hereafter — 
and learn to love your goodness. (He goes around 
back of table.) Now tell me something about your- 
self. Do you remember when Johnny — do you re- 
member your parents at all.^ 

Ethel. 

Only slightly. You see we were very young. I 

remember the day my Uncle came to take us away 

— there was so much excitement in the house, and 

they wouldn't let us go upstairs — but I knew that 



FOR THE LOVE OF JOHNNY 85 

something dreadful had happened to my mother. 
There was a nurse there at the time — a sweet young 
woman and very kind to me — it was she who told 
me that God had taken our parents away, and she 
lifted me up in her arms, and I remember the tears 
in her eyes as she kissed me — but of course we were 
too young to really understand. It was not till long 
afterwards that my Uncle told me they had been 
killed — so Johnny and I have hardly known a moth- 
er's love — but he has been father, mother, brother 
and all the Avorld to me. 

Father Ryax. 
Has Johnny ever thought of getting married.'' 

Ethel. 

(Startled.) 

Of marrying. Father? Why do you ask that.'' 

Father Ryax. 
Surely you have contemplated — you have thought 
that the time would some day come when you or he 
would fall in love with someone and marry — haven't 

y^^- Ethel. 

(She is troubled at the thought.) 
No, Father, I never thought of that. 

Father Ryax. 
Have you never thought of marrying, my child.'' 

Ethel. 
Mr. Waj^burn — wants to marry me — but I could 
never think of leaving Johnny. 

Father Ryax. 
But isn't it the history of every brother and sister 
that when they become of age — 



86 FOR THE LOVE OF JOHNNY 

Ethel. 
Oh, Father, please — I'd rather not speak of that 
now— Father Ryan. 

(Crossing around L. of table.) 
My daughter, I do not wish to bring you anything 
but happiness. I am seeking only for the truth. 

Ethel. 
(Rising.) 
But, Father, I wouldn't tell j^ou anything but the 

^^^^^' Father Ryan. 

(Crossing to her.) 

I know — indeed I am sure of that — but I suspect 

that you, poor child, along with your other burdens, 

have been fighting something — something — that you 

do not understand. ,^ 

Ethel. 

I don't know Avhat you mean. Father! 

Father Ryan. 
I know you don't — and I know your soul is as 
pure as a lily of the field — suppose that you and 
Johnny were not in any way related. ^^ 

Ethel. 
(Rather puzzled,) 

Father Ryan. 
Suppose that you and he had been reared together, 
just as you have" been — and you found out now — 
at this moment — that he were not your brother — 
would that change your love for him.? 

Ethel. 
(Still not understanding what he is driving at.) 
Why — I don't see how it could — I would love him 
just the same. 



FOR THE LOVE OF JOHNNY 87 

Father Ryan. 

Then you think your love for him is something 
more than a sister's love? 

Ethel. 

I don't know, Father — ^I have never analyzed it — 
all I know is that we have been inseparable and de- 
voted to each other. 

Father Ryan. 

Listen, my child. God works in mysterious ways 
His wonders to perform. I, too, was an orphan — 
reared in an orphanage in Denver, with a small 
brother. About sixteen years ago my little brotlier 
was adopted, with my consent, into a lovely home. 
A little girl was there for him to grow up with aivJ 
to cherish as his sister. I, too, was devoted to my 
little brother — but from that day I never saw him 
again — until — until yesterday. 

Ethel. 
Yesterday .? „ .^ 

-^ JbATHER KyAN. 

For sixteen years I prayed to our Heavenly Father 
to bring us together, for, like 3^ou, he was all I had 
in the world. And never once did I lose faith in the 
belief that my prayers would be answered and we 
should some day meet again. I often pictured him 
— from year to year — as I thought he would look, 
and with a firm faith in his inherent goodness, I 
knew that wherever he was, he was straight and true 
and strong — this little brother of mine — he is — 
Johnny! Ethei,. 

{^Greatly affected.) 

My brother? 

Father Ryan. 

Your adopted brother. 



FOR THE LOVE OF JOHNNY 



Ethel. 
Why, it seems like a book story — so that's why 
you were asking me all of those questions — I think 
I understand! Oh, I am so happy! 

Father Ryan. 
I knew him — almost the moment I saw him. 

Ethel. 
Did you tell him. Father .^^ 

Father Ryan. 
No, I wanted to tell him — but — 

Enter Mrs. Banks at archway, 

Mrs. Banks. 

Well, of all things ! 

Father Ryan. 
How do you do, Mrs. Banks. 
Mrs. Banks. 
Father Ryan ! How in the world did you come in ? 
Ethel, why didn't you tell us Father Ryan was here? 

Ethel. 
■ Well, I was — 

Positions. 

^ ^ Mrs. Banks. 

JbATHER Ryan. 

Ethel. 

Father Ryan. 
She was going to tell you, Mrs. Banks, for I came 
over especially to see you and your husband — first 
of all I wanted to thank you for your very generous 
hospitality of yesterday. 

Mrs. Banks. 
How long have you been here. Father.'' Well, of 
all things ! 



FOR THE LOVE OF JOHNNY 



Father Ryan. 
Only a short while. As I was coining over I met 
your niece carrying some water, and I was glad of 
the opportunity to help her — that's why she brought 
me in the back way. 

Mrs. Banks. 
{She gives Ethel a black look.) 
Oh, I see ! Just a minute — I'll call Pa — Pa ! 

Jerry. 
(Outside.) 
Coming! ^^j-^^^ ^^^^^ 

Ethel, I think you'd better run back over to 
^^^^^~ Father Ryan. 

If you don't object, Mrs. Banks, I would like to 
have her remain here just a little while — for I want 
very much to talk to you all together — 

Mrs. Banks. 
{Excitedly.) 
But she's got her work to do — Pa! 

As she calls Jerry enters through archway with 
Wayburn. j^^^y. 

Yes, I'm coming — I was just telling Mr. Wayburn 
— {sees Father Ryan). Well, this is a surprise — 
good-day. Father ! 

Father Ryan. 

Good-day, Mr. Banks! 

Positions. 

Mrs. Banks. 

Jerry. Wayburn. 



Father Ryan. 
Ethel. (Table.) 



90 FOR THE LOVE OF JOHNNY 

Wayburn. 
(Coming down L.) 
And how are you feeling today. Miss Ethel? 

Ethel, 
(At extreme R.) 
Just fine, Mr. Wayburn, thank you. 

Jerry. 

(Coming down C. with Father Ryan.) 

You didn't meet Father Ryan yesterday, did you, 

Mr. Wayburn.? ^,, 

•^ Wayburn. 

Father Ryan, I'm right glad to meet you! 

Father Ryan. 

(Looks kindly hut steadily at him.) 

I wish I could say the same to you, sir. 

(There's a little embarrassment all around.) 

Jerry. 

When did you come. Father — I didn't see you. 

(Father Ryan starts to answer.) 

Mrs. Banks. 

Ethel and him come in the back way while we was 

out in the yard. , 

^ Jerry. 

(Going up to Mrs. Banks back of table.) 

Oh, I see! Father Ryan. 

(Innocently.) 

Yes, I was just telling Miss Banks how she had 

lost her brother. 

(Consternation — Mrs. Banks, Jerry and Way- 

^^^^•) Wayburn. 

What do you mean — lost her brother.? 



FOR THE LOVE OF JOHNNY 91 

Father Ryan. 
She lias lost her brother Johnny — because I have 
discovered that he is my brother ! 
Jerry. 
{Greatly relieved.) 
Oh, I see — you think that he's the boy you've been 
looking for all these years .^ 

Father Ryan. 
I am very happy to say that I am sure of it, sir! 
Wayburn. 
(Crossing to below table.) 
Mr. and Mrs. Banks were telling me something 
about that. Father, and while we are all very much 
in sympathy with you in your search, we can't ex- 
actly figure out how this thing can be possible. 
Father Ryan. 
I'm not sure that I quite understand you, sir! 

Wayburn. 
Well, it seems to me that in your eagerness you're 
grasping at straws. Have you any proof that this 

^ Father Ryan. 

Proof, sir ! I am a Catholic Priest — and I have 
dedicated my life to the truth! 

Mrs. Banks. 

You see. Father — Mr. Wayburn is a business man 
— and being the man v,'ho hires Johnny — 

Father Ryan. 
Still I cannot see why I should be obliged to offer 
proof to anyone but to Johnny and his adopted sister 
here. I am not claiming any reward. When the boy 
returns it will only be necessary for me to ask him 
a few questions and I am sure you will see — ^and 



92 FOR THE LOVE OF JOHNNY 

understand. {Then very formally.) In the mean- 
time, Mr. Wayburn, as his brother I wish to thank 
you for giving him a chance. 

Wayburn. 
Oh, that's all right — I'm glad to do it ! 

Father Ryan. 
{With meaning.) 
I sincerely hope you are actuated in this by a gen- 
uine interest in the boy. 

Wayburn. 
Why, what do you mean? 

Father Ryan. 
Frankly — if I had been informed yester eve about 
certain things as I have been since, I think I should 
have tried to persuade my brother not to go. 

{Again there is consternation. Mrs. Banks cow^s 
down between Wayburn and Father Ryan.) 

Mrs. Banks. 
Mr. Wayburn has been awful nice to us here. 
Father, and we feel mighty friendly to him. 
Father Ryan. 
I want to feel the same, Mrs. Banks, it is just a 
matter of understanding. I should like to call upoik 
you tomorrow, sir, if you have no objections. I 
believe it would redound to our mutual interest to 
know each other better. 

Wayburn. 
{Surly — going up stage.) 
Because you're a Priest you think you can insult 
everybody — I don't want to see you. (Ethel crosses 
up to archway.) _ 

But, Mr. Wayburn — 



FOR THE LOVE OF JOHNNY 93 

Father Ryan. 
I'm sorry. I must be going — it's getting late and 
I have a little mission to perform before going home. 
How. far is it to Mr. Gloyd's place from here.^^ 
Jerry. 
It's about — a little over a half mile west. 

Father Ryan. 
Toward Bells'.? 

Ethel. 
No, the other way, Father — I'll show you. (Eivit 
E^THEL through arch) 

(As Father Ryan goes to archway y Wayburn 
comes down L.) 

Father Ryan. 
(Stops in archway.) 
Mr. Harding, I mean Mr. Wayburn, before I go, 
I think I should tell you that Turkey-Legs was shot 
through the arm. I dressed his wound. 

Wayburn. 
' What has that got to do with me? 
Father Ryan. 
I don't know, but I do know that he is bent on 
vengeance. Unfortunately, he is not a Christian and 
my arguments do not reach him. 
Wayburn. 
Well, why are you telling me all this.'' 

Father Ryan. 
I am not judging you, my friend, I have no means 
of knowing that what he says is true. But if it is 
true, and you escape the judgment of Society," do not 
forget that there is a Higher Judge and court before 
whom you must some day be tried. If it be true, I 
beseech you, repent while there is yet time ; confess 



94 FOR THE LOVE OF JOHNNY 

your sins to God. {Then addressing all of them.) 
Come unto Him, all je who are heavy laden, and He 
will give you Peace. 

{He exits archway.) 

Mrs. Banks. 
What's he talking about.? 

Wayburn. 
Why, the man's half crazy — that Indian's noth- 
ing to me — I never saw him before in my life. 

Jerry. 
Things are going from bad to worse. 

Mrs. Banks. 

Oh, shut your mouth — don't you commence whin- 
in' again. What are we going to do about this 
Johnny affair, Mr. Wayburn.? He seemed to suspect 
something. Wayburn. 

How can he know anything — don't worry. If he 
bothers us any I'll find a way to get rid of him, too. 

Jerry. 
How do you mean.? 

As Ethel enters through archway. 

Mrs. Banks. « 

Sh! See here, what do you mean bringin' that 
Priest in here without tellin' us nothin' about it.? 
{She twists Ethee's wrist.) 

Ethel, 
(/ti pain.) 

Positions. 
Ethel. Mrs. Banks. 
Jerry. (Table.) Wayburn. 



FOR THE LOVE OF JOHNNY 95 

Jerry. 
Quit it. Ma! {Takes Ethel.) Now you just let 
her alone ! 

(Jerry swings Ethel down B., protecting her.) 

Mrs. Banks. 

Well, I don't want him in this house again — you 
understand.^ He ain't nothin' but a trouble maker. 
(Ethel starts to leave room, mortified to he so 
treated in Wayburn's presence.) Git a match and 
light this lamp. 

Wayburn. 

I have a match, I'll light it for you, Miss Ethel. 

(Ethel sinks in chair down R. weeping.) 

Mrs. Banks. 

Pa, git your hat now, if we're goin' to the Leav- 
enworths this evening, we'll have to hurry. (Jerry 
takes hat off rack at back.) 

Wayburn. 
I'm going down that way, so you can go right 
along with me. You'll ride behind as fine a team of 
horses as there is in this country. (During above 
speech, Jerry and Wayburn have gone out through 
archway.) ^^^^ ^^^^^ 

Ethel, we're goin' over to Leavenworths fer a little 
Avhile, and Phil's coming over to take Dorothy to 
the party. That means you'll have to stay here and 
look after things. (Ethel doesn't answer.) Well, 
why don't you say something.? 

Ethel. 
I don't know anything to say. Aunt. 



96 FOR THE LOVE OF JOHNNY 

Mrs. Banks. 

No, I guess there ain't nothin' to say. 

As she starts out door, Phil, who is entering hur- 
riedly, bumps into her. 

Mrs. Banks. 

Oh, I beg your pardon, Mrs. Banks ! 

Mrs. Banks. 
Nearly knocked me down! Well, of all thmgs — • 
it's a pity you can't look where ^^ou're goin' ! {She 
exits in a huff — Phil watches her.) 

Phil. 

It's a pity you can't go where you're looking! 

(Phil is now dressed in civilian clothes which are 
somewhat too small for him — not burlesqued — but 
the trousers, although the right length, are much 
too tight for him around the hips, and the vest 
doesn't quite meet the trous^ers when he is standing 

^^^^^•) Ethel. 

{At R. C.) 

Well, Phil, ha, ha ! I never Tvould have known ycu ! 
W^hat did you do with your soldier clothes.'^ 

Phil. 
{At C.) 
Oh, her Nobs thought I ought to dude up a little 
for Dorothy's sake and I don't know but what she's 
right for once in her life. But believe me, I almost 
had to use a shoe horn to get into 'em. You know 
I gained some beef since I joined the army. 

Ethel. 
I'll go call Dorothy — ^just sit down a minute. 



FOR THE LOVE OF JOHNNY 97 

Phil. 
(Mock serious,) 
You don't know what you're asking of me. 

Ethel. 

(Laughing.) 

Well, anyway, Dorothy will be glad to know that 

vou are here. ^ 

Phil. 

Tell me truly. Miss Ethel, does this suit look bad.'^ 
(Struts around carefully.) 

Ethel. 

No, I wouldn't say it looks bad — it's all right. 
(Laughs.) It does seem a little small for you. 

Phil. 

It doesn't seem to be, it is! But this is a fancy 
dress party, and I'm wearing a geographical dress. 
You see — (indicating with his finger) North Amer- 
ica — (pointing to vest) South America (pointing to 
trousers) and Panama Canal — (pointing to gap he- 
tween). Ethei,. 

(Laughing.) 

Just wait a moment and I'll call Dorothy. (She 
exits door R. Phil looks at himself in mirror, 
squirms around somewhat endeavoring to get com- 
fortable, and does whatever comedy business that 
may be suggested at rehearsals, according to his 
personality and the direction of producer. He looks 
at chair and wonders whether or not he had better 
take a chance and sit — tries it but realizes his trousers 
are too tight.) 

Well, I'll have to sit sometime this evening — so 
here goes now! 

(As he sits positively this time R. of table, a loud 



FOR THE LOVE OF JOHNNY 



rip is heard — aiid his ep^fn / changes to calm 
resignation.) 
Oh, Lord ! 

F ■■ rwi door R. 

i)i>i;,()THY. 
(Ai; C.) 

^ Phil. 

^ — end with a silly expression.) 

Dorothy. 
W you look right nice! 

Phil. 
I don't feel exactly comfortable in this suit, Dor- 

•^' " Dorothy. 

Oh, nonsense! That's all imagination — you look 
all right. p^^^_ 

I can't go, Dorothy. 

Dorothy. 
Can't go — why.? „ ; 

{Very serious.) 
Not in these pants ! 

Dorothy. 
Oh, Phil — don't be silly! I tell you, you look all 

"S'^*- Phii.. 

But you don't understand, Dorothy — I wish I 
were back in the trenches. 

Dorothy. 
Stand up and let me look at you. 

Phil. 
Oh, I don't want to get up! 



FOR THE LOVE OF JOHNNY 99 

Dorothy. 

Phil! _, 

Phil. 

No, honest, I don't think we'd better go to that 

dance — ^ 

Dorothy. 

(Crossing L.) 

I think you're mean — to treat me this way — you 

haven't said one word about how I look, after I tried 

so liard to look nice for your sake — and — and — 

(Phil can't bear to see Dorothy cry and rises to go 

over to her, and as he walks across his pants fall 

three or four inches — just enough to register that 

they are ripped up the back.) 

Phil. 

Oh, Dorothy — I didn't — oh ! (He catches his pants 
and pulls them up, then holds them, having his back 
to the door as Ethel enters. He now turns his back 
on her very quickly and giggles.) 

He, he, hello. Miss Ethel! 

Ethel. 
(Seeing Dorothy in tears.) 
Why, what's the matter? 

Phil. 
(In desperation.) 
Well^ the matter is I cracked my pants — and that's 
why — you needn't laugh — it's serious ! I can't go to 
the party in these — I knew I never should have worn 
this suit. Haven't you got a pair of pants to lend 
me. Miss Ethel? No, I mean your Uncle's pants? 
(Ethel is embarrassed — Dorothy now laughs.) 

Dorothy. 
Did you really tear them, Phil? 



100 FOR THE LOVE OF JOHNNY 

Positions. 

Phil. 
Ethel. Dorothy. 

Phil. 
Didn't you hear it? I thought the whole world 
heard them give way, 

Dorothy. 

(Crossing to door R.) 

I'll get you a pair of Dad's — come in here — (They 

exit R.) „ 

^ Ethel. 

(Calling to them in next room — going up to 

window.) 

I think the grey ones, Dorothy, would be the best. 

Dorothy. 

(Off stage R.) 

Yes, I do, too — I have them. Now hurry, Phil, or 

we'll be late. 7^ , -n. n 

Enters Dorothy, R. 

Phil. 
(Off stage.) 
That^s fine — I won't be a minute. 
(As Dorothy enters she notices Ethel has gone 
over to window and is looking out pensively.) 

Dorothy. 

I'm real sorry to leave you here all alone tonight, 

Ethel. 

Ethel. 

Oh, that's all right, dear — don't let that thought 

enter your mind. I want you to have a good time, 

and you won't if you worry about me. I sha'n't get 

lonesome — there's plenty to do. 



FOR THE LOVE OF JOHNNY 1 01 

Dorothy. 
I hope Ma and Pa won't be gone long. 

Phil enters wearing very light grey pants, almost 
white. They fit him fairly well but they are per- 
fectly round in the legs. 

Phil. 

How do I look? 

Dorothy. 

That's all right, Phil. 

Phil. 

Well, anyway, I feel safe — come on, w^e'll go ! 

Dorothy. 
Good-night, Ethel ! 

Ethel. 
Good-night, dear — have a good time. Sorry about 
your accident, Phil. 

Oh, that's all right — I'm kinder glad it happened 
now, 'cause if I get tired dancing I can sit down. 
Good-night! (They exit archway.) 

As Dorothy and Phil exit, Ethel follows them 
out into entryway — out of sight as though she had 
gone with them to open door. As soon as she is 
out of sight, the door R. opens quietly and Way- 
burn steals in. He locks it quietly after him and 
puts the key in his pocket. Then tht front door is 
heard closing and Ethel is heard bolting it — she 
then returris quietly. Wayburn has in the meantime 
placed an attractive box of candy on the table beside 
the lamp, and has gone over to L. and stands quietly 
as Ethel enters. She does not see him. She goes 
over to the xmndow and looks out, and as she is stand- 
ing there she sees the face of Turkey-Legs appear 



102 FOR THE LOVE OF JOHNNY 

against the pane. Ethel, stifles a scream. Wayburn 

does not see Turkey-Legs and thinks it was he who 

frightened her. Ethel in turning sees Wayburn. 

Ethel. 

{Up R.) 

Oh, Mr. Wajburn. 

Wayburn. 
{At table.) 
Miss Ethel, I'm sorry I frightened you — as a mat- 
ter of fact, I had started to drive your Uncle over 
to Leavenworths, when he told me you were here all 
alone — and I let him take the team and hurried back 
to keep you company — 

Ethel. 
It wasn't you who frightened me, Mr. Wayburn. 
Didn't you see—? Wayburn. 

I probably should have come in the front way — 
but as I came back it was closer to come in the rear — 
and there was no one here, so I thought — come, don't 
be afraid — I can't bear to see my little sweetheart — 
{he tries to take her in his arms but she quickly pulls 
ci'way.) Ethel. 

{Crossing to L.) 
Please don't do that, Mr. Wayburn. 

Wayburn. 
Why not? Surely you have thought over what I 
told you yesterday — you must know I have loved 
you—! Ethel. 

{Opposite side of table.) 
Please! Wayburn. 

{Crossing over to her.) 
And why shouldn't I — you're the prettiest girl in 
the state- — I want you to be my wife. 



FOR THE LOVE OF JOHNNY 103 

Ethel. 

Mr. Wayburn — (crossing right) — I'm afraid of 

that Indian. „, 

Wayburn. 

(Mistaking her meaning and following.) 

Don't worry about him — he'll not harm me — come, 

sit down! (He pulls her into a chair right of table, 

then gets candy.) Now see what I have brought you. 

I kneel at your feet — and present you with this little 

ffift of esteem. -r^ 

^ Ethel. 

(She is greatly pleased by his attention and by 
this beautiful box of candy — such attentions are nexv 
to her. ) 

Oh, isn't that lovely ! I have never had such a 
beautiful box of candy! (Waybuhn remains hneel- 

^'^ Wayburn. 

I thought you would like it — let me open it for you. 
(Ethel holding candy on her lap — ^Wayburn pro- 
ceeds to untie it.) ^ 

^ Ethel. 

That was thoughtful of you, Mr. Wayburn! 

Wayburn. 
Why I'm thinking of you all the time — how can I 
help it — I wonder if you know how beautiful you 
are! (Still at her feet.) 

Ethel. 
Oh, Mr. Wayburn! (She blushes.) 

Wayburn. 

I had this candy put up especially for you. (The 

box is opened. Ethel is all eyes.) It's flavored with 

kisses. „ 

Ethel. 

Oh, isn't it pretty.? 



104 FOR THE LOVE OF JOHNNY 

Wayburn. 
Have one. {He himself takes out chocolate with 
pincers.) This has a cordial in it. {He leans way 
over to her.) Have it! {He holds it to her lips.) 

Ethel. 
{Sweetly.) 

No one has ever given me a box of candj before ! 
{She now takes the tongs from hnn, hut instead of 
eating it then as he watches her like a hawk, her ex- 
pression changes, and she says:) 

Mr. Wayburn, when do you think Johnny v, ill re- 
turn.^ {He is greatly surprised and disappointed at 
this change. At first he flares up — then masters him- 
self — rises and crosses hack of table.) 

Wayburn. 
Oh ! — oh, he ought to be back in a couple of days ! 
But let's not think of him now! 

Ethel. 
But I'm thinking of him all the time. 

Wayburn. 
{Leaning over table.) 
I'm sorry you don't like your candy. 

Ethel. 

Oh, but I do ! I like the whole box — every piece — 

they're lovely! •.^ 

•^ -^ Wayburn. 

Wait tin you taste it — try that piece — it's fine — • 

•^ ' Ethel. 

Won't you have some.? 

Wayburn. 
Sure — but ladies always first I 



FOR THE LOVE OF JOHNNY 105 

Ethel. 
(^Coquettishly.) 
No, I don't think I'll give you any — you know 
what I'm going to do? 

Wayburn. 

What? ^ 

Ethel. 

I'm not going to spoil it — I'm going to save it 

just as it is to show Johnny — when he comes back 

home. (Puts back candy and covers it.) 

Wayburn. 

(Sever ell/.) 

But I brought it for you — I want you to eat it. 

Ethel. 
I know, but I don't want to be selfish — I want to 
show it to Dorothy, too. (He goes hack of chair and 
puts his arms around her. She doesn't like it hut 
resigns because he can't get very close to her.) 

Wayburn. 
Besides when Johnny comes back — you will be my 
wife — you will invite liim to live with us — and think 
Avhat a surprise it will be for him to see you all 
dressed up and the mistress of your own home. 
Ethel. 
(Rises and crosses L. to cupboard where she places 
candy.) Mr. Wayburn, I can't do that! 

Wayburn. 
(Following her.) 
Why of course you can. I want to marry you 
right away. We'll leave this God-forsaken hole and 
go and live in a city, where you will be appreciated, 
looked up to and admired by all. We'll have a home, 
and servants, autos, horses and all the refinements 



106 FOR THE LOVE OF JOHNNY 

of luxury that money can buy for you. I'm sick of 
this life out here anyway and want to begin all over 
again — somewhere far away where the streets are 
paved and the nights are brilliant with electric lights 
— theaters, cafes, dances and all the other happy 
social functions that you have dreamed about as 
being in a land akin to heaven — far away and unob- 
tainable except in rosy dreams. I tell you, that's 
the place for you, Ethel — and I want to take 3^ou 
there — well, what do you say.? 

Ethel. 

(Almost won over by his oily tongue.) 

Oh, that would be wonderful — but what about 

Johnny '^ „^ 

*^ Wayburn. 

{His temper getting the best of him.) 

To hell with Johnny ! 

Ethel. 
{Amazed and disappointed — but quietly.) 
So — that's the way you feel about him.^ 

Wayburn. 
I beg your pardon, Miss Ethel — I forgot myself. 

Ethel. 
I think you did, Mr. Wayburn. You have hurt 
me more than you realize — I am going to my room — 
good-night! {Starts for door R.) 

Wayburn. 

{Going after her.) 

Wait! (Ethel tries door and discovers it is locked 

— she tries it again — not understanding — then turns 

and sees Wayburn glaring at her triumphantly — 

then realizes she has been trapped.) 



•FOR THE LOVE OF JOHNN Y 107 

Ethel. 

Why — why is this? Why have you locked this 
door ? 

(Wayburn grabs her and by sheer brute force 
holds her tightly in his arms — and kisses her. She 
of course struggles but is unable to get away till 
after he has related somewhat.) 

Wayburn. 

Because I love you — because I want you — and will 

have you — „ 

-^ Ethel. 

(Finally struggling away — she is terribly humiliated, 

wounded and almost frantic.) 

Oh ! You say you love me — I have always thought 

that love was kindness and consideration. (She is now 

on opposite side of table.) 

Wayburn. 
Ha, ha! Miss Banks — you will learn that I am ac- 
customed to having my own way — if I cannot get a 
thing I want by reason — I take it by force — I ask 
you once again — will you be my wife.'^ 

Ethel. 

(Quietly but determined.) 

Yes I will — if you will stop the beating of my 

Iieart ! ^„ 

Wayburn. 

You mean — „ 

Ethel. 

I mean I would rather be dead! 

Wayburn. 
(Determined and desperate.) 
Then let me tell you — (he grabs her wrist) that 
your brother Johnny is in a rather dangerous posi- 
tion — a word from me and he will never return. 



108 FOR THE LOVE OF JOHNNY. 

Ethel. 

^^' Wayburn. 

Consent to become my wife, and I'll promise to 
keep my agreement with him and with you — ^^but 
refuse, and you'll never — see — him — again. 

Ethel. 

Johnny! (Screaming.) 

Her head swims — she reels — and sinks to the floor 
fainting. Wayburn picks her up and lays her on 
sofa at hack — Wayburn looks at her, then looks 
around the room, uncertain how to proceed. There's 
a loud nervous pound on the front door. Wayburn 
registers chagrin — he is undecided what to do. The 
knock is repeated. He looks again at Ethel lying 
prone — hends over her — then goes over as though 
to blow out the light, when there is a terrific noise — 
cracking of wood as though the front door had been 
burst open — and — Father Ryan appears in the 
entryway. Wayburn is caught almost C. Father 
Ryan stands for a moment in archway — Ethel is 
on couch up stage and he does not see her. 

Father Ryan. 
Where are her people? 

Wayburn. 
What business is that of yours.? 

Father Ryan. 
It is my business to protect the innocent. 

Wayburn. 
What right have you to break into this house like 
a thief.? Father Ryan. 

No! A thief sneaks in the back way — quietly! I 
heard a ^irl scream — where is she? 



FOR THE LOVE OF JOHNNY 109 

Wayburn. 

How do I know — let me out of here! (Wayburn 

rwns toivard archway — Father Ryan grabs him — a 

slight tussle and Fatpier Ryan hurls him hack into 

the room.) ^ -p, 

^ Father Ryan. 

You will remain here with me — for the present. 
What were you doing to that girl? I tell you I was 
passing by — I heard her — {sees Ethel lying prone 
on couch.) Oh! Wayburn. 

{Drawing gun.) 

Stand back I tell you — or by God! 

Father Ryan. 

{Picking him up quickly — holding up crucijix.) 

By God 3^ou will be judged! 

{There- is a pause — Wayburn's hand trembles — 
as Father Ryan gradually closes his hand over the 
gun — then Wayburn realizes he is going to take it 
away from him — there is another slight tussle and 
Father Ryan wrests the gun out of his hand.) 

Now don't try to get away — confess what you 
have done! Wayburn. 

( Cowardly — frightened. ) 

I didn't do anything to her — she fainted, that's all. 
I just asked her to be my wife, and she fainted. 

Father Ryan. 

{He has gone up to Ethel, felt her head and 
pulse to make sure she is alive — all the xvhile covering 
Wayburn.) 

Such a shock would no doubt cause her to faint. 
{He now goes to L. — blocking archway.) I look at 
you — and it almost makes me ashamed to be a man! 
So this is the revolver — fitted with a Maxim silencer 



no FOR THE LOVE OF JOHNNY 

— with which you shot my Indian guide — I cannot 
now but beheve his story — and beheving that I know 
you are in league with Satan himself. 

Ways URN. 
If it wasn't for your damned priestly robe I'd 
make you swallow those words. 

Father Ryan. 
Oh, I'm not afraid of you, and if you're afraid of 
my cloth I'll take it off! I have made a business of 
fighting the Devil all my life and so I shall fight you 
— but not with this. {He empties gun and throws it 
in the corner. Wayburn is much relieved when he 
throzcs gun away. He now feels in his poclict and 
takes out a dirk — opens it. During this time Father 
Ryan strips off his coat and collar.) 

Wayburn. 

Oh, if you want to fight — just try to stop me 
from getting out of here. 

(He makes for the door again — this time as he 
passes Father Ryan cutting wildly with his knife 
hand — Father Ryan grabs his wrist and pushes 
him hack as far as table, where they fight for a few 
moments — Wayburn apparently getting the best of 
it. But Father Ryan finally gets the knife away 
from him — then Wayburn gets Father Ryan over 
the table, back doivn, and grabs the knife hand of 
Father Ryan and tries to force tJie blade into his 
heart. During this scuffle the lamp is upset and the 
stage is in total darkness, except for a shaft of moon- 
light which comes in the archway, xvhere the front 
door is open.) 

After the fight has proceeded a little longer in the 
dark, with accompanying grunts and exclamations 



FOR THE LOVE OF JOHNNY 111 

fro7n the two, Turkey-Legs is seen in the moonlight 
as he enters through entryway — he comes in cat- 
like and is lost in the darkness of the room. The 
voices of the two are separated now as if they were 
apart — then a terrific grunt and screech of pain from 
Wayburn — and all is suddenly quiet again — as Tur- 
key-Legs is seen stealing out through the moonlight 
as noiselessly as he entered — a pause — then Ethel's 
voice — xveak and uncertain, as she emerges from her 

j^«^^^- Ethel. 

{On couch — absolute darkness except for moonlight 
in archway.) 
Oh, Mr. Wayburn — ^please — please have mere}' — - 
mercy — he is all I have in the world ! 
Father Ryan. 
{On opposite side of room.) 
Is he over there ? Oh, my child ! 
{He scratches a match — he is now beside the table 
and in the flickering glow of the match Wayburn's 
form is seen lying over the table limp.) 

OM Ethei.. 

{Has risen — she sees it too.) 
Oh, Father, what have you done.^ 

Father Ryan. 
I don't know. {The voices of Mrs. Banks and 
Jerry are heard as they are returning — their feet 
are heard upon the porch.) 

Mrs. Banks. 
{Outside.) 
Well, of all things! 

Jerry. 
What's the matter here? {They carry a lantern 
xvhich now begins to light up the archxvay.) 



m FOR THE LOVE OF JOHNNY 

Mrs. Banks. 
I tell you it's been broken into — 

Father Ryan. 
Bring the light, Mrs. Banks, there's trouble here! 

Enter Mrs. Banks and Jerry. 

Jerry. 
(With lantern, coming down hack of table.) 
Well I guess there is — what's this — who is this? 
Mr. Wayhurn? ^^^^ -^^^^^ 

{At L. of Jerry. 

He's been stabbed! 

(As lights come up Wayburn is seen lying back- 
wards over table, his face to audience, a splotch of 
blood on his white shirt front. Father Ryan still 
clutches absent-mindedly the knife in his hand which 
he took away from Wayburn.) 

Jerry. 
Oh, gracious me ! 

Positions. 
Mrs. Banks. Jerry. 

Father Ryan. 

Ethel ( ) 

Wayburn on table. 

Mrs. Banks. 
(To Father Ryan. 
He's dead — why did. you kill him? 

Father Ryan. 
{At C.) 
No, no — you are mistaken, Mrs. Banks — I'm sure 
I didn't kill him ! Jerry. 

Oh, what a fright! 



FOR THE LOVE OF JOHNNY 1 13 

Mrs. Banks. 
You're sure you didn't — he's been stabbed to death 
— and there's the knife in your hand! 

Father Ryan. 
But let me explain — I tell you — 

Mrs. Banks. 

You'll tell it to the sheriff — if you didn't do it — 
I'd like to know who did.^* 

Ethel. 
( Stepping forward. ) 
7/ 

Father Ryan. 

Sh! (Drawing her to him.) 
Curtain. 




WELL, OF ALL THINGS!" 



FOR THE LOVE OF JOHNNY 



The Third Act. 

Scene: The same as the First Act. Time — early 

afternoon, six months later. 
At rise, stage is empty. Door to house is closed. 

Phil, stylishly dressed and sporting an incipient 

mustache, enters at gate. He looks around and is 

surprised at seeing no one about. He comes down 

C. and calls. Phil. 

Hello ! Hello ! 

{He starts over to door of house arid is just step- 
ping onto the porch as the door opens and Dorothy 
steps out.) 

Dorothy! Dorothy. 

Phil! 

(They embrace and Phil holds her off at arm's 
length to look at her.) 

Phil. 

You've grown prettier and sweeter every day. 
(They take C.) Dorothy. 

And you, you — why didn't you write me you were 
coming.? Pjjj^^ 

Too busy to write. I wanted to surprise you any- 

^^^y- Dorothy. 

You look different somehow\ You — why, Phil, 

you have a mustache! _, 
-^ Phil. 

(Stroking it proudly.) 

That's very kind of you, Dorothy. 

115 



116 FOR THE LOVE OF JOHNNY 

Dorothy. 

Kind, what do you mean? 

Phil. 

Lots of folks Avon't admit it. 

Dorothy. 

The idea. I felt it. {She looks away in embarrass- 

ment.) I mean I can see it just as plain. 

Phil. 

Do you — ah — think it improves my appearance.? 

Dorothy. 

Oh, Phil, I think you're the handsomest man in 

the world. Phil 

( Takes her in his arms again. ) 

Oh, you're a darling ! 

Dorothy. 

Stop, Phil, you're mussing me terribly. 

Phil. 

(Leading her to bench.) 

Well, I can't help it, if I must — let's sit down. 

Dorothy. 

How's your real estate business? 

Phil. 

Booming ! I got more than I can do, money in the 

bank and — -^^ 

Dorothy. 

How much? „ 

Phil. 

Enough so that when you say the word we'll be 

married and go to live in our own little home in 

Santa Fe — I earned it. 

Dorothy. 

Oh, Phil! 

Phil. 

That's worth waiting six months for, isn't it? 



FOR THE LOVE OF JOHNNY in 

Dorothy. 
Oh, Phil, I'm so happy. (Phil whispers in Dor- 
othy's ^a?'.) (Amazed.) No! 

Phil. 
Yes — it's got rubber tires and everything. I 
bought it today. Won't it be great! Where's tlic 
rest of the family — let's tell them about it — including 
jMother, dear Mamma. 

Dorothy. 
They have all gone to the court house. 

Phil. 
Father Ryan's trial — I had forgotten about that. 

Dorothy. 
Yes. Isn't it terrible. Do you think he killed INIr. 
Wayburn ? 

It looks bad for him all right, but I don't believe 

he did it. -r^ 

Dorothy. 

He and Ethel were the only ones with Mr. Way- 
burn when he was killed. Ethel had fainted, so of 
course she doesn't know anything about it, and all 
Father Ryan will say is that he didn't do it. 

Phil. 

When he says he didn't do it, I believe him, but 

between you and me I think he knows who it was, 

and will not tell. -^ 

Dorothy. 

I think he ought to tell to save himself, if he knows 

who it was. -r, 

Phil. 

So do I, but he isn't that kind of a man. 

Dorothy. 
Oh, it's terrible, Phil, terrible! 



m FOR THE LOVE OF JOHNNY 

Phil. 

There's nothing we can do. Has Ethel heard from 

Johnny ? ^ 

"^ Dorothy. 

Not a word smce that night he went away over 
six months ago. She has given him up for dead and 
is wearing mourning. 

Phil. 

Worse and more of it. I always knew something 
terrible would happen here if I didn't stick around. 

Dorothy. 
Poor dear Ethel has been so unhappy. She feels 
sure that if Johnny were alive he would send her 
some word, and since he has gone my step-mother has 
treated her more cruelly than ever. 

Phil. 
(Going to well.) 
Well, I've got good news for her. 

Dorothy. 

( Delighted — following. ) 

You have.^ ^ 

Phil. 

I'm only sorry Johnny is not here to share it. 

Dorothy. 

Tell me, Phil. 

Phil. 

(Down L.) 

Why, the other day a Mr. Woods walked into my 

office and wanted to buy a ranch in this section. I 

have always known that Ethel wasn't happy here 

and I thought of this ranch first thing. Now that 

Johnny has gone don't you think she'll be glad to 

sell it and leave this part of the country.? 



FOR THE LOVE OF JOHNNY n9 

Dorothy. 
(At R of Phil.) 
But, Phil, I don't understand? 

Phil. 
I brouglit Mr. Woods along with me- — he is will- 
ing to pAj a good price and — 

Dorothy. 
{Interrupting.^ 
Wait, Phil — what has Ethel to do with the ranch? 

Phil. 

Well, if Johnny's gone, it's all hers. I think she'll 

be glad to sell it. 

Dorothy. 

The ranch belongs to Father. 

Phil. 
Not unless she sold it to him yesterday. 

Dorothy. 
You're mistaken, Phil — this ranch — 

Phil. 
Don't you believe it. I'm going to make fifteen 
hundred dollars commission on this deal. That will 
start us out in housekeeping, won't it? 

Dorothy. 
Are you sure this ranch belongs to Ethel? 

Phil. 
Sure? Y^ou can gamble I know who owns a piece 
of property before I start to sell it. The deeds are 
still in her father's name and she is now the only heir. 

Dorothy. 
What will become of Father and Mother? 



120 FOR THE LOV E OF J OHNNY' 

Phil. 
I would be glad to have 3^our father come and live 
with us, but I draw the line on Ma. 

Turkey-Legs, wrapped in his blanket and very 
dignified, appears at the gate. 

U }^ I Turkey-Legs. 

(Phil and Dorothy startled, turn quickly.) 

Phil. 
Ugh, yourself! Fine day, but nobody home. 

Turkey-Legs. 
Indian wants find Good Man Black Robe. 

Phil. 
Who does he want — the undertaker.? 

Turkey-Legs. 

Injun been gone six moons. Wants Good Man 

Black Robe. -^ 

Dorothy. 

Oh, he means Father Ryan. 

Turkey-Legs. 
Ugh. Pale face daughter, she know. 

Dorothy. 
You. are the Indian, Turkey-Legs, who guided him 
here, aren't you? 

Turkey-Legs. 
(At C.) 
Injun, Good Man Black Robe's friend. 

Dorothy. 
(Goes up fearlessly but Phil keeps behind her.) 
Father Ryan is a prisoner at the Court House. 
He is being tried for the murder of Dick Wayburn. 



FOR THE LOVE OF JOHNNY 12] 

Turkey-Legs. 
Ugh! Court House — Injun go! (Turkey- Legs 
turns and exits in the same dignified manner.) 

DoROTHY\ 

{Turns to Phil.) 
Funny, isn't he.^ 

Phil. 
{Takes off his hat and smoothes down his hair.) 
Funny .f^ Every time I see that Redskin my hair 
feels like it had just been washed. 
Dorothy. 
{Thoughtfully.) 
Now I wonder what he wants of Father Ryan. 
Maybe he knows something about the murder. 
Phil. 
What if he does, it will take him a weeh to get to 
the Court House, the way he moves. 
Dorothy. 
{Runs up to gate and looks off.) 
I'nrgoing to tell him to hurry. 

{Comes to bench R. C.) 
Oh, Phil, come, look! 

Phil. 
{Not stirring.) 
What is it, Dorothy.? 

Dorothys 
{Excited.) 
He's thrown off his blanket — he's waj^ down the 
road — he's running like the wind! 
Phil. 
{Goes up to look — with a sigh of relief.) 
He's certainly doing a Marathon. If he'll just 
keep going that way. 



1.22 FOR THE LOVE OF JOHNNY 

Dorothy. 
What way? p 

I mean away from me. 

Dorothy. 
(Clasping her hands.) 
Oh, I hope he knows something — I hope he gets 
there in time ! 

(Phil puts an arm around her and they start 
down R.) 

Woods enters at gate, looking back the way Tur- 
key-Legs has gone. Woods is somewhat grey, wears 
large glasses. Van Dyke heard. 

Dorothy. 

Oh, Phil, I don't know what I would do if 3^011 

weren't here. ^^^ 

Woods. 

A-hem, in describing this ranch, young man, you 

forgot to tell me there were wild Indians running 

around loose. -r, 

Phil. 

Oh, hello, Mr. Woods ! 

Woods. 
Evidently I'm not the one he's after, anyway. 

Phil. 
Come in. I was afraid you had lost your way. 
Dorothy, may I present Mr. Woods, a client of 
mine.'^ Mr. Woods, Miss Dorothy Banks, my fiancee. 

Dorothy. 
How do you do, Mr. Woods ! 

Woods. 
So this is the young lady I've been hearing so 
much about ! Every time I got Mr. Osborne talking 



FOR THE LOVE OF JOHNNY 123 

about the ranch, he switched off and talked about 

-^ ' Dorothy. 

How silly of you, Phil. 

Woods. 
Half the time I didn't know what he was trying 
to sell — you or the ranch. 

Dorothy. 
Phil, how could you? 

Woods. 

But I'll say this for him, everything he said about 

you is true. „ 

Dorothy. 

Then I hope he said nice things. 

Woods. 

He did. 

Phil. 

I'm glad you approve of my choice, Mr. Woods, 

and if you'll just take a look over the ranch with 

me, you'll find I told the truth about that, too. 

Woods. 
{To Dorothy.) 
Will you excuse us.^^ 

Dorothy. 

Certainly ! 

{Going up with Woods.) 
We won't be gone long, Dorothy. 
(Phil and Woods exit up R. After they have 
gone Dorothy runs up and watches them ojf.) 

Dorothy. 
I always knew Phil would make a. great business 



124 FOR THE LOVE OF JOHNNY 

man. (Thinks and smiles.) I just think his little 
mustache is too cute for words. 

She goes slowly up to porch, is about to exit when 
voices — Mrs. Banks in particular — are heard off, 
DouoTHY goes hack to gate as Jerry and Mrs. 
Banks enter there, 

Mrs. Banks. 

I tell you, Jerry Banks, I won't have her around 

the place! She's disgraced us and given us enough 

trouble already. --^ 

•^ Dorothy. 

What has happened — where is Ethel .^ 

Jerry. 

{Coming down C. xvith Mrs. Banks.) 

The case is in the hands of the jury, Dorothy — 

they had been out half an hour when we left. 

Mrs. Banks. 

{At R. C.) 

It wouldn't take me a half hour to make up my 

mind. I knew he was guilty the minute I saw him 

with the knife in his hand. 

Dorothy. 

{AtR. o/Mrs. Banks.) 

You think he will be acquitted, don't 3^ou, Father.? 

Jerry. 

{At C.) 

It looks bad for him, but I think it's a good sign 

that the jury are taking their time. 

Mrs. Banks. 
{Sits R. C.) 
If he gets free it won't be my fault. 

Dorothy. 
Surely you want to see Father Ryan acquitted.? 



FOR THE LOVE OF JOHNNY 125 

Mrs. Banks. 

I want the law to take its course. A good, fine 

man has been murdered and somebody's got to pay 

for it. 

(Starts into house hut turns on porch.) 

I did my duty. I told the jury what I saw with 

my own eyes. ^ 

^ -^ Jerry. 

I'm afraid you told them a little more than you 

Mrs. Banks. 

Well, somebody had to speak out; you wouldn't. 

Dorothy. 
Where is Ethel.? 

Mrs. Banks. 
I don't want to hear you speak her name. If she 
comes back here she can't stay — ye understand.'^ 

Dorothy. 
What has she done.^^ 

Mrs. Banks. 
{Venomously — still on porch.) 
What has she done.? Ain't she brought all this 
trouble on us? Has she ever been any 'count.? She 
got up there on the witness stand and perjured her- 
self to save that Priest! 

Jerry. 
{Mildly.) 
There, now, w^e don't know that she did. 
Mrs. Banks. 
{Crossing to Jerry, C.) 
Didn't she testify that Mr. Wayburn sneaked in 
the back door that night and locked the door after 
him.? Didn't she say that he tried to get her to eat 
some poisoned candy? 



126 FOR THE LOVE OF JOHNNY 

Jerry. 
Well, you ought to know if that candy was pois- 
oned — you tried it yourself. 

Mrs. Banks. 

Yes, and I like to died from it. 

Jerry. 

Well, we almost died laughing at you. Y^ou acted 

like an old maid trying to make people believe she 

was sweet sixteen. 

Mrs. Banks. 

{Interrupting.) 

That's enough for you, Jerry Banks. Come in 

the house and take off your Sunday clothes. 

(Jerry comes down meekly,) 

Dorothy. 
Where will Ethel go if she doesn't come home.^^ 

Mrs. Banks. 

{Going hack on porch.) 

Didn't I tell you not to say her name again.? We 

don't know where she'll go and what's more, we don't 

care. ^a 

Dorothy. 

Oh, I most forgot! I have some news for you — 

f^cuess who's here ! ^, -r, 

^ Mrs. Banks. 

I ain't got no time to guess, who is it.^^ 

Dorothy. 

Phil! ,, ^ 

Mrs. Banks. 

Well, of all things ! Is that love-sick puppy hang- 
ing around here again .^^ He eats more than three 
ordinary farm hands. Why don't he marry you.? 

Dorothy. 
He's going to ! 



^ FOR THE LOVE OF JOHNNY 127 

Mrs. Banks. 

He ain't going to marry you and sponge off us — 

not by a iuefful! -p. 

•^ "^ ° Dorothy. 

(Going up R.) 

Oh, he has money in the bank and we're going to 

live in Santa Fe. ,^ ^ 

Mrs. Banks. 

Well, thank the Lord for that, but I won't believe 

it till I see you married. 

Jerry. 
That is good news, Dorothy — where is the boy? 

Dorothy. 
(Coming down C.) 
Oh, he brought a man along with him to look over 
the ranch— he wants to buy it. 

Mrs. Banks. 
Bu}^ it — buy what.^ 

Dorothy. 
They're out now looking it over. 

Jerry. 
You mean our ranch, Dorothy.^ 

Dorothy. 
Yes, and— ^^^ Banks. 

(Coming down R. C.) 
I always knew that Phil was crazy — the ranch 
ain't for sale. 

(She turns to go in the house but turns on Doro- 
thy's speech,) Dorothy. 

(At C.) 
That's what I told him, but Phil says the ranch 
belongs to Ethel and Johnny. (Dorothy goes up 



128 FOR THE LOVE OF JOHNNY 

R. and looks off. Jerry and Mrs. Banks look at 
each other — thunderstruck. There is a pause.) 

Mrs. Banks. 

Jerry Banks, you hustle out and find that Phil 
before this foolishness goes any further. 

Jerry. 
I told you that some day — 

Mrs. Banks. 

(Interrupting.) 
You never told me nothing of any account. (Mrs. 
Banks slams into the house. Jerry goes up slowly 
and Dorothy puts her hand on his arm.) 

Dorothy. 
Who does this ranch belong to, Father.? 

Jerry. 
Don't ask me, Dorothy — I've always been a good 
father to you, haven't I.^^ 

Dorothy. 
(Surprised.) 
Why of course you have. 

Jerry. 
There, now, run in and help your mother. (Jerry 
eccits at side of house.) 

Dorothy watches him off and goes slowly to the 
porch. She is about to exit when Ethel, dressed in 
mourning, with a little white showing at her neck, 
appears at gate and calls faintly: 

Ethel. 

Dorothy ! ^^ 

•^ Dorothy. 

Ethel! (Turns.) 

(Dorothy starts to go to her impulsively y but 



FOR THE LOVE OF JOHNNY ^ 

looks towards the door, thinks of what Mrs. Banks 
said and hesitates.) 

Ethel. 

They told me not to come back — but I wanted to 
see you again — and — even you are not glad to see 
me. 

(DoEOTHY hesitates again and throws caution to 
the winds — and runs up to Ethel.) 

Dorothy. 
(With great emotion,) 
Of course I'm glad to see you, you poor dear girl. 
I — I've wonderful news for you, too. 

Ethel. 
(As they come down.) 
About Father Ryan.? 

Dorothy. 

Ethel. 
The jury was still out when I left. Oh, Dorothy, 
I'm afraid, I'm afraid! 

Dorothy. 

There, there, you mustn't give up hope. Listen, 

dear ! ^ 

Ethel. 

(Interrupting C.) 

I lost Johnny through that terrible Mr. Wayburn 

and now through him I'm afraid I'm going to lose 

the only friend I have. 

Dorothy. 
You'll always have me, Ethel — I'll never desert 
you. Phil and I are to be married right away, and 
you're going to live with us. 



130 FOR THE LOVE OF JOHNNY 

Mrs. Banks enters from the house and surveys the 
scene with arms akimbo. 

Mrs. Banks. 

Well, of all things ! 

Dorothy. 
Please be kind to her, Ma. 

Mrs. Banks. 
{Going to C.) 
You, Dorothy, go into the house this minute! 
Dorothy. 
(Starts toward house but stops.) 
But,— Ma— jy^^g Banks. 
(At R. C.) 
You heard what I said! (Dorothy goes to porch 
and stands listening.) It was you who brought all 
this trouble and disgrace on this household — now git ! 
Ethel. 
Where shall I go? 

Mrs. Banks. 
Don't ask me. Go ask Father Ryan. You two 
will make a good pair. 

Ethei.. 
Father Ryan is innocent. If he is convicted his 
blood will be on your head. 

Mrs. Banks. 
Don't talk back to me — git out of here! 

Ethei.. 
I'll go. Aunt. I don't know where to go, but you'll 
never be bothered with me again. There's just one 
favor I want to ask of you. 

Mrs. Banks. 
You're a fine one to be asking favors, you are! 



FOR THE LOVE OF JOHNNY ^131 

Ethel. 
There's just one thing I want to take with me. 

Mrs. Banks. 

(With sarcasm.) 
I suppose you want me to give you some money.? 

Ethel. 
No, it's not money — 

Mrs. Banks. 

Well, hurry up — I can't stand here and parley 
witli you all day. ^ 

1 want Johnny's picture. It's in the top draAver 

of the bureau. ,^ ^ 

Mrs. Banks. 

You can have it and welcome. (Going towards 

house.) Good riddance to bad rubbish. Dorothy! 

Dorothy. 

Yes, Ma! ,, „ 

Mrs. Banks. 

Bring r;ie that Johnny's picture — in the top bu- 
reau drawer. -r^ 

Ethel. 

I'm glad to go away, Aunt — I've never been happy 

here, and since Johnny went away I've often wished 

I were dead. ,, ^ 

Mrs. Banks. 

That's just what I expected. You ain't got a 

spark of gratitude in you, and after all I've done 

for you, too. -r^ 

•^ Ethel. 

You have never done anything but make my life 

a burden, and I would have gone away long before 

this were it not that I have lived in the hope that 

Johnny were not dead ; that some day Johnny might 

come back! 



132 FOR THE LOVE OF JOHNNY 

Mrs. Banks. 

I think you knew all the time that he wasn't your 

brother — that's the reason you were so crazy about 

each other. ^^ 

Ethel. 

(With spirit.) 

How dare you say that.^ 

Mrs. Banks. 

Don't put on any airs with me, young lady — I've 
taken all from you I'm going to. 

Dorothy enters from house with a small photo- 
graph of Johnny in a frame, about three hy four 
inches. She hands it to Mrs. Banks and exits into 
house, wiping away her tears and not trusting her- 
self to speah. Mrs. Banks. 

{Throwing picture on ground before Ethel.) 

Take it and git out! 

Ethel. 
Thank you. Please say goodbye to Uncle Jerry! 

^., , Mrs. Banks. 

Lrlt ! 

(Ethel turns an appealing face to Mrs. Banks, 
who points down the road. Holding the picture 
against her bosom and looking straight ahead, 
Ethel turns and goes slowly up to gate. As she 
turns into the road Mrs. Banks exits into house.) 

Just before Ethel disappears from view, Phil, 
followed by Jerry and Woods, enter from side of 
house. Phil sees Ethel f.rst. 

Phil. 

Oh, Ethel! (^^^-^ 



FOR THE LOVE OF JOHNNY 133 

(Ethel turns and hesitates — Woods starts visibly 
at the sight of her.) 

Wait a minute — you're just the one I'm looking 
for. 

(Ethel doesn't make any move to return and 
Phil goes to the gate.) 

I know I look different — this mustache, you know, 
but — (swelling up). I'm Phil! 
Ethel. 
I'm glad to see you, Phil, but I'm going away. 

Phil. 
Going away.^ I guess not. Not at least until we 
talk over an important business matter. 
Ethel. 
(With sudden hope.) 
You've heard from Johnny — tell me, you've heard 
from Johnny. p 

I'm sorry, Ethel. I haven't heard from Johnny, 
as much as I would like to. 
Jerry. 
(Very nervous.) 
Excuse me, Mr. Woods, I want to talk to my wife 
a minute. Phil 

(To Jerry.) 
That's impossible — she'll do all the talking. 
(Jerry exits into house. Phil takes Ethel by the 
hand and leads her through the gate, down C.) 

Miss Ethel, this is Mr. Woods, of San Francisco, 
Melbourne, New York and London. He has come 
here to talk to you about buying the ranch. 
Ethel. 
I don't know what you are talking about, Phil.? 



134 FOR THE LOVE OF JOHNNY 

Phil. 

Didn't your Uncle ever tell you that this ranch 

belonged to you? 

Ethel. 

No, Phil, he didn't. 

Phil. 
Well, then, I'm telling you now. Your father left 
it to you and Johnny when he died. I've had my 
attorneys examine the title — it's all straight and now 
tliat Johnny — now that Johnny isn't here, it's all 
yours. I've asked Mr. Woods fifteen thousand dol- 
lars for it. ^^^ 

Woods. 

Mr. Osborne wasn't sure you wanted to sell. Miss 

Banks, but I thought it would do no harm to come 

out and look at it. 

Ethel. 

Phil — are you sure — 

Phil. 

. Now don't ask me if I'm sure — do you want to sell 

the ranch — that's the only thing I'm not sure about ! 

Ethel. 
I don't know what to say. 

Dorothy enters and catches Phil's eye. 

Phil. 

Well, you and Mr. Woods talk it over — I want 

to speak to Dorothy a minute. (Phil joins Dorothy 

and they exit above house — much interested in each 

other.') ^„ 

^ - Woods. 

I have examined the title to the property myself, 
Miss Banks, and there is no question but that it be- 
longs to you. 



FOR THE LOVE OF JOHNNY 135 

Ethel. 

Does my Aunt know about it? 

Woods, 

If she doesn't she soon will. Let's sit down and 

talk it over. Ethel. 

(Sits on well bench.) 

I always did think it strange that my father didn't 

leave us anything, but that is what Uncle and Aunt 

told me. Woods. 

(At C.) 

Where is your brother, Miss Banks? 

Ethel. 

He's not my — he — I don't know, Mr. Woods. 

Woods. 

Your brother's name is Johnny? I should say 

John. „ 

Ethel. 

Yes, but he is not really my brother — my father 
adapted him when Ave were both very small. 
Woods. 
(Starts at this but Ethel does not notice.) 
Not your real brother? 

Ethel. 
I always supposed he was until shortly before he 
went away, when Father Ryan told me the truth. 
Woods. 
(Sits bench R. C.) 
Naturally I am interested in all this. Miss Banks. 
It has some bearing on the ownership of the prop- 
erty. What is the truth about your so-called brother? 
Ethel. 
Johnny is Father Ryan's younger brother — you 
know Father Ryan? 



136 FOR THE LOVE OF JOHxNNY 

Woods. 

I've heard of him. -r^ 

Ethel. 

Father Ryan and Johnny were reared in an Or- 
phanage in which my father was interested. He 
adopted Johnny and of course we always supposed 
we were brother and sister until Father Ryan told 
me differently. Father Ryan had searched for his 
younger brother for years. 

Woods. 
(Half to himself.) 
Father Ryan's brother ! 

Ethel. 
Of course you know of the great danger Father 

Ryan is now in? „, 

^ Woods. 

Yes, yes ! Phil told me all about it. I mean Mr. 

Osborne. He also told me about a Mr. Wayburn, 

who sent your brother — I mean Johnny — away on 

a confidential mission and your never hearing from 

him since. -r^ 

Ethel. 

He's gone forever, Mr. Woods ! 

Woods. 
Why do you think that.? 

Ethel. 
Because if he were alive, I know that he would 
send me some word. .^ 

Perhaps he couldn't write — or maybe his letters 

miscarried. -r. 

Ethel. 

If Johnny were alive he would have returned long 

^g^' Woods. 

(Crosses to L.) 
Do you wish to dispose of the ranch, Miss Banks.? 



FOR THE LOVE OF JOHNNY 137 

Ethel. 
If the ranch belongs to Johnny and me I have no 
right to sell it without his consent. 

Woods. 
But you have just told me that you have given 
him up for dead, and in that case — 

Ethel. 

{Looking at Johnny's picture.) 

I know — I know — but I can't give up all hope. 

Oh, Jolmny, if you were only here to learn of this 

good fortune. Without him here to share it with 

me — it means very little to me, Mr. Woods. 

Woods. 
{Walks away affected, thinking deeply and then 

returns.) 
A month ago your brother — I mean your adopted 
brother Johnny — was alive and well. 

Ethel. 

{Springs to her feet and goes to him.) 

Ob, you don't know what you're saying — tell me 

— tell me — „^ 

Woods. 

I've traveled about a bit, and a month ago I met 

John Banks in Melbourne, Australia. 

Ethel. 
Australia.? But how did you know? Please do not 
deceive me, Mr. Woods. 

Woods. 
I know it is the same Johnny because I have seen 
the likeness you hold in your hand. Because the 
house and ranch are just as he described them — 
because you — you whom he supposed to be his sister, 
are just as he described you. We became good 



m FOR THE LOVE OF JOHNNY 

friends and he told me why he did not dare to write ; 
he told me how he missed his little sister ; how he 
prayed for her every hour — how he loved her. 
(Ethel breaks down and weeps.) I thought I was 
bringing you good news — not news to make you sad. 

Ethel. 
{Raising her tear-stained face.) 
They're tears of joy, Mr. Woods — tears of happi- 
ness ! I'll always bless you and remember you. 

Woods. 

He didn't write, he said, because he knew that 

Wayburn intended to make away with him when he 

had him shanghaied in San Francisco. He was a 

prisoner for months, when it was impossible for him 

to write. A month ago, when he was free to write, 

he feared that his Aunt might see the letter and tell 

Wayburn. _ 

^ Ethel. 

Oh, tell me — how did he look — what was he doing.? 

Woods. 
He was looking well and preparing to leave for 
the States in a few days. 

Ethel. 
Then he is likely to arrive here almost any day? 

Woods. 

Yes, I think so. ^ 

Ethel. 

Oh, you have brought me the happiest day of my 

life. Forgive me for showing my feelings, Mr. 

Woods — ^but he means everything in the world to 

me. Everythinfif ! „^ 

•^ ^ Woods. 

Even though he is not your brother.? 



FOR THE LOVE OF JOHNNY 139 

Ethel. 
If anything — that has only made him closer to me. 

Woods. 

(About to reveal himself.) 

Of course you still feel a sister's love for him. 

Ethel. 
No — Mr. Woods — a sister's love has changed to — 
I — can't tell you about it. I can't tell anyone but 
Johnny. 

Woods starts toward Ethel to reveal himself, 

wheii Mrs. Banks, followed hy Jerry, enter from 

house. ,, -r, 

Mrs. Banks. 

Haven't you gone yet.? 

Jerry. 
{To Mrs. Banks.) 
This is Mr. Woods, Harriet, who — 

Mrs. Banks. 
I can guess who he is and he ain't got any busi- 
ness around here neither. (Mrs. Banks starts L. 
toward Ethel.) For the last time, young lady, git 
off this place and stay off. 

Woods. 
(Stepping hetxiDeen her and Ethel.) 
You have no right to talk that way. 

Mrs. Banks. 

Well, of all things ! 

Positions. 



Jerry. 



Mrs. Banks. 



Ethel. 
Woods. 



140 FOR THE LOVE OF JOHNNY 

Woods. 
The place doesn't belong to you — it belongs to her. 

Mrs. Banks. 

{In fighting attitude — going up on porch.) 
I know what you and that Phil have been talking. 
You can tell that to Jerry, but not to me. 

Phil and Dorothy enter from abo've house. 

Mrs. Banks. 

Right now I want you to understand you're deal- 

incf with a woman. ^^^ 
^ Woods. 

I merely know the facts and there's nothing to 

arejue about. , ^ -r» 

^ Mrs. Banks. 

You bet there ain't — what I want is proofs. Have 

you got proofs — tell me that ! 

Phil. 
(Conmig down to porch steps.) 
I have all the proofs you want, Mrs. Banks! 

Mrs. Banks. 

(Turning on him.) 

I alius knew I was harboring a snake with you 

around. ^ 

Phil. 

I'm sorry you feel that way about me, 'cause 

you're going to have a few of little grand snakes 

crawling around here one of these days. Do you 

really think this property belongs to you ? 

Mrs. Banks. 
I don't think it — I know it. 

Phil. 
Oh, no you don't, Mrs. Banks. You know as well 
as I do that it belongs to your niece, Miss Ethel. 



FOR THE LOVE OF JOHNNY 141 

You only make matters worse by trying to keep up 
the deception. ^^^^ ^^^^^ 

(Losing her head completely.) 
Get out of here, all of you. Jerry Banks, if you 
was half a man you wouldn't stand there like a fool 
when your wife was being insulted. Get the rifle 
and drive these thieves away. 
Jerry. 
I told you it was no use. 

Mrs. Banks. 

(Crossing to Jerry.) 
No use — no use ! Haven't we raised them two chil- 
dren like our very own ; haven't we given them every 
advantage? I don't care what your old lawyers say 
— I'll never get off this place till they carry me off 
in my coffin. p 

(At R.) 

We can't wait for you to die, Mrs. Banks. But 
whether or not you leave the place depends entirely 
upon Miss Ethel. I don't know just what the offense 
is, but this I know, that you'll have to make an ac- 
counting to Miss Ethel here for every penny the 
ranch has produced since you've been on it, or go to 
jail — both of you! 

Mrs. Banks. 

(Collapses R. C. Jerry, C, supports and takes 
her up C.) 

Jerry— Jerry ! p^^^ 

What is your pleasure in this matter, Miss Ethel .^^ 

Ethel. 
For the present I would prefer that we all remain 
here, just as we are. 



142 FOR THE LOVE OF JOHNNY 

Jerry. 
There, there, Harriet, you hear that! 

Ph 

From what I know about things, I think we had 
better have a thorough understanding on this point, 
Miss Ethel. Let's all go in the house and have it set- 
tled. I have some papers bene I want to lay before 
you. 

(Phil goes up on potch. Dorothy goes to 
Ethel. Jerry exits into house, supporting Mrs. 

Banks.) .^^ 

Dorothy. 

{To Ethel.) 

You're returning good for evil, dear Ethel; you'll 

never be sorry. ^ 

-^ Ethel. 

I have no bitterness in my heart toward anyone — 

I merely want to do what's right. (Dorothy and 

Ethel pass Phil and exit into house,) 

Phil. 
Come on in, Mr. Woods ! 

Woods. 

No, thank you, this is a family council — I'll wait 

out here. -r, 

Phil. 

Well, all right — we won't be long, even if the old 

girl does die hard! (Phil exits into house.) 

Woods goes to bench R. C. as Father Ryan en- 
ters at gate. The latter looks tired and worn hut 
has lost none of his cheerful good humor. 

Father Ryan. 
Good afternoon ! Do you know if the Banks family 
is home.? 



FOR THE LOVE OF JOHNNY 143 

Woods. 

(Rising.) 

Yes, they're in the house. You are Father Ryan, 

are you not.? -^ .^^ 

-^ Father Ryan. 

Yes. You're a stranger here.? 

Woods. 
Not exactly a stranger, I — (He, during speech, 
steps behind tree R. C. and quickly removes heard 
and glasses.) Father Ryan, I'm Johnny Banks! 

Father Ryan. 
Johnny — you are Johnny — my brother Johnny ! 

Johnny. 
Ethel has told me everything. 

Father Ryan. 

(Puts an arm about him.) 

The Lord is good. I knew that my prayers would 

be answered. ^ 

Johnny. 

Father Ryan— 

Father Ryan. 

(Clasping his hand.) 

You once called me Paul — Johnny ! 

Johnny. 
Brother Paul — why didn't you tell me this the 
night we walked down the road together.? 

Father Ryan. 

Because, while I thought I was right, I was not 

sure. -_ 

Johnny. 

(At R, C.) 

And Ethel.? 



144 FOR THE LOVE OF JOHNNY 

Father Ryan. 

I told her as soon as I ivas sure. Ah, Johnny, that 

dear girl has passed through much since you went 

away. , 

Johnny. 

I know — and my hair has turned grey from wor- 
rying about her. And now I'm almost afraid to tell 

Father Ryan. 
(At C.) 
Take her in your arms and tell her, my boy — take 
her in your arms and see her sad face light up with 
love and happiness. 

Turkey-Legs, clad only in moccasins and breech- 
cloth, enters at gate and comes down. 

Turkey-Legs. 
(At L. C.) 
Injun want to talk with Good Man Black Rpbe! 

Father Ryan. 
( Turning. ) 
Ah, John Turkey-Legs, shame on you, shame on 
you. Where is your blanket .^^ 

Turkey-Legs. 
Good Man Black Robe free.? 

Father Ryan. 
Yes, John, I'm free! 

Turkey-Legs. 
Injun look for you at Court House. They tell 
Injun Good Man Black Robe gone free. Injun think 
maybe they lie and keep him in jail. He not sure, so 
he tell Judge — Injun kill Dick Way burn! 

Father Ryan. 
I feared it was you, John. 



FOR THE LOVE OF JOHNNY 145 

Turkey-Legs. 
Ugh ! This knife. He kill my squaw and many 
of my brothers. Injun creep up to house that night 
and see Good Man Black Robe and Wayburn fight. 
He know Wayburn no fight fair, never fight fair — 
shoot Avith silent gun. Injun crawl in door to save 
Good Man Black Robe. Squaw's spirit now rest in 

^ ' Father Ryan. 

You did save me, John. You were just in time, 
but that does not lessen the burden on your soul. 

Turkey-Legs. 
Wayburn heap bad man ! 

Father Ryan. 
The Great Father commandeth thou shalt not kill. 
He that giveth life shall take life and He only. 

Turkey-Legs. 
Judge he say make Injun prisoner. Injun say 
"Ugh" and he get to window — tell them all "Go 
to Hell" — Injun jump — they no catch Injun. 

Father Ryan. 
Now do something for me. Pray forgiveness for 
for your sin. Kneel, John. 

Turkey-Legs. 
No time pray now — Injun skidoo. 

Father Ryan. 
Kneel, John. {Indian kneels at Father Ryan's 
feet.) Merciful God, forgive me my sins. Say that, 

Turkey-Legs. 
{Repeating.) 
Merciful God, forgive me my sins ! 



146 FOR THE LOVE OF JOHNNY 



Father Ryan. 
And give me strength — 

Turkey-Legs. 
And give me strength — 

Father Ryan. 
To sin no more. Amen. 

Turkey-Legs. 
Me sin no more. Amen. 

Father Ryan. 

Go and sin no more. 

(Turkey-Legs kisses the hem of Father Ryan's 
robe, rises — Father Ryan takes him by the hand 
with bowed head. Turkey-Legs goes sxmftly to gate 
and exits.) 

Ethel enters from house just in time to see him 

leave. Johnny goes up before Ethel enters^ so she 

doesn't notice him. ^ 

Ethel. 

Father Ryan! „ t, 

^ Father Ryan. 

(Taking her in his arms.) 

My dear girl. -^ 

You are free — you are free! 

Father Ryan. 

Yes, yes — it took them a long time to make up 

their minds. „ 

Ethel. 

But until the man is found — won't some suspicion.? 

Father Ryan. 
The slayer has confessed to man and to his God. 

Ethel. 
That Indian, Turkey-Legs.? 



FOR THE LOVE OF JOHNNY 147 

Father Ryan. 

Yes 

Johnny. 

{Up R., looking off R.) 

And what's more he has escaped — and the way 

that fellow can run they'll never catch him. 

Phil and Dorothy, followed by Mrs. Banks and 
Jerry, enter from house. 

Ethel. 
(At R. C.) 

If Johnny w^ere only here my happiness would be 
complete. p 

(Phil and Dorothy crossing C.) 
Hello, Father Ryan — congratulations on your ac- 

Father Ryan. 
(At L. C.) 
Oh, I was never in any real danger. 

Phil. 
Well, I'm glad it's all over and so is everybody 

else. T 

Jerry. 

(With Mrs. Banks on porch.) 

Yes, we're all glad. Father Ryan ! 

Phil. 
Father Ryan, Dorothy has consented to become 
my wife and we want to catch the night train for 
Santa Fe. Will you marry us.? 

Father Ryan. 
Marry you? Of course I will — bless your hearts, 
both of you! At what time.? 



148 FOR THE LOVE OF JOHNNY 

Phil. 
Now is the .time — this is the place — and here is the 
girl! I've got the license, here's lots of witnesses — 
is there anything else we need? 

Dorothy. 
I need a bridesmaid — Ethel, dear, will you be my 
bridesmaid ? ^ 

liTHEL. 

Why, certainly, if you want me to, but I'll have 
to change my dress. 

Dorothy. 
Oh, no, you won't. 

Phil. 
My motto is — E — Pluribus — it's a long worm that 
has no turning ! Come on in everybody and see us 
married! Come on, Mr. Woods*! (All but Father 
Ryan and Woods eocit into house.) 

JOPINNY. 

I'll be in presently. 

(After they have gone he comes down C. to Father 
Ryan.) 

Suppose we make that a double wedding .^^ 

Father Ryan. 
It is a blessed day when a girl loves as she loves 
you — when a man loves as you love her — and the 
Father makes them one. 

Johnny. 

(Smiling.) 
Well, you tell Ethel that I want to see her out 
here just for a minute — and then we'll be right in ! 



FOR THE LOVE OF JOHNNY 149 

Father Ryan. 
The same little joker you always were, Johnny. 
{He exits into house.) 

Johnny goes quietly over to well, so that Ethel 
entering cannot see his face. 

Ethel. 
( Coming C. ) 
You wanted to see me, Mr. Woods .^ 
(Father Ryan returns and remains on porch.) 

Johnny. 

{Without turning.) 

Yes — Father Ryan says that when a girl loves — 

{He turns and stretches out his arms to her — she 

gives a quick start — stares and comes quietly into his 

arms with a stifled sob.) 

Curtain. 

{The music used for this finale was the chorus of 
''Little Grey Home in the Wesf — played very softly 
on the strings as Ethel makes her entrance from 
house, and swelling as the curtain descends.) 



The Real Thin;^ After All 

BY 
LiNDSEY BaRBEE 

An after-the-war comedy-drama, in 3 acts; 7 males, 
9 females (2 are children, boy and girl). Time, 2i/4 
hours. Scenes: 1 exterior, 1 interior. 

CAST OF CHARACTERS. 

Bobby Winton A Youthful Soldier 

Ruth Meredith With the Gift of Understanding 

Anne Meredith Winton In Love with Her Husband 

Kate Mrs. Winton's Maid 

Robert Winton A Successful Lawyer 

Cecily Hargraves Richard's Fiancee 

Thomas Gregory. A Mystery 

Alison Page Who Is Clever 

Dennis Who Emulates Sherlock Holmes 

Doris Thorne A War Bride 

Edward Thorne ("Ted") A War Groom 

Captain Richard Winton. .. .Wlio Does the Unexpected 

Aimee "A Little Bit of France" 

Miss Ward RichaiTl's Aunt and Housekeeper 

Fifi A French Maid 

Roger Atlierton An American Aviator 

Sometimes it is pretty laard to find the real thing 
after all — and Dick Winton, fresh from service, with 
a Croix de Guerre all his own and a dear French 
orphan to claim his care and affection, searches in 
vain until the Christmas spirit touclies his eyes and 
gives him tlie magic vision. And while selfish Cecily, 
quiet Ruth and adoring Aimee unconsciously direct 
It is destiny, clever Alison tries to decide between the 
mysterious aviator and tlie equally mysterious Tom 
Greg'ory, and a fascinating- French maid plays havoc 
with hearts — and otlier things! The irrepressible Kate, 
in emulation of Dennis, assumes the role of detective 
and flourishes the stolen pearls at the crucial moment; 
the stranger, Atherton, proves a friend in need and 
establishes an identity, all by a packet of letters; and, 
as to the recovery of the missing twenty-five thousand 
— well, that is Bobby's story, and he tells it much 
better than anybody else can hope to do. 

Price, 35 Cents. 

T. S. Denison & Company, Publishers 

154 West Randolph Street CHICAGO 



LBFe-ZO 



Plays for Schools and Colleges 

THE HIGH SCHOOL FRESHMAN 

By Charles Ulrlch. Comedy in 3 acts; 12 males. Time, 
2 hours. Price, 25 Cents. 

THE KINGDOM OF HEARTS CONTENT 

By Lindsey Barbae. Comedy in 3 acts; 6 males, 12 fe- 
males. Time, 2^ hours. Price, 25 Cents. 

MACBETH A LA MODE 

By Walter Ben Hare. Burletta in 3 acts; 7 males, 7 
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MRS. TUBBS OF SHANTYTOWN 

By Walter Ben Hare. Comedy-drama In 3 acts; 4 
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PARLOR matches"" 

By Walter Ben Hare. 
males, 5 females. Time, 



Comedy of society in 2 acts; 4 
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A POOR MARRIED MAN 

By Walter Ben Hare. Farce-comedy In 3 acts; 4 males, 
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A PRAIRIE ROSE 

By Edith F. A. U. Palnton. 

7 males, 4 females. Time, 2^ 



Comedy-drama in 4 acts; 
hours. Price, 25 Cents. 



RE-TAMING OF THE SHREW 

By John W. Post gate, Shakespearean travesty in 1 act; 
6 males, 5 females. Time, 45 minutes. Price, 25 Cents. 

SAVAGELAND 

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SHADOWS 

By Mary Moncure Parker. Play of today and a dream 
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SING A SONG OF SENIORS 

By Lindsey Barbee. Comedietta; 
minutes. 



7 females. Time, 30 
Price, 15 Cents. 



STAR BRIGHT 

By Edith F. A. U. 
6 males. 5 females. 



Palnton. Comedy-drama in 3 acts; 
Time. 2^^ hours. Price, 25 Cents. 



A TRIAL OF HEARTS 

By Lindsey Barbee. Comedy in 4 acts; 6 males, 18 fe- 
males. Time, 2i^ hours. Price, 25 Cents. 

T. S. Denison & Company, Publishers 

154 West Randolph Street CHICAGO 



Standard and Amateur Plays 

Our list of plays comprises hundreds of 
titles, dramas, comedies, farces, vaudeville 
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All shades of sentiment are represented, all 
varieties of talent, number of characters and 
time required in presentation are provided 
for in this list. 



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Paper Binding Only, Price 35 Cents Each 
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